Watch this film only if you want to see GenY’s most popular hero dazzle differently. Otherwise, stay away from what is decidedly like a boring arthouse movie, despite its few good points.

Irrfan Khan is far from being essentially the same. His intentionally blank expressions and deadpan kind of tone is suitably changed here in keeping with his generally harangued character. Arunoday Singh and Divya Dutta steal the show with their effortless work, Singh dwarfing Dutta in the final analysis. Kulhari has nothing much to do, while Pradhuman Singh and Omi Vaidya overdo their bit, especially Vaidya who keeps showing his limitations. Anuja Anil Sathe is a delight, and Gajraj Rao and Vibha Chibber are fun too as the slimy detective and the gun dealer.

Somewhere, the film falls short of a crisp 2018 entertainer modeled on the lines of retro classic Hindi movies. After the first three frenzied days for Shroff fans, it is likely to face an uphill task at the box-office.

The title is as irrelevant and devoid of sense as a Bengali name for a Marathi film. But then, we guess the filmmakers went as wild in choosing (!!) a title as they did in writing their “script” and making this “film” that endorses every kind of immaturity, imbecile thinking and skewed actions from youngsters.

But the film, hook, line and sinker, or rather, all three storeys of it, is dominated (and how!) by Renuka Shahane Rana as Flory aunty. As the wigged, middle-aged and feisty Christian lady with a private agenda (the only story here that packs a whopping wallop!), she proves that for a consummate actor, absence from work is no deterrent for a whacko, truly awe-inspiring performance. She gets in this extra half-star to an otherwise strictly average film.

Though unlike “Pyaar Ka Punch-Nama 2” there is nothing that warrants a repeat watch (that film also had good music), this light entertainer is a one-time visit, even for those who may not exactly relish the end.

Lending a thin sliver of respectability to the film are the dignified and smooth turns by Boman Irani as the organizer-in-chief and Lara Dutta as the disgruntled woman. Dutta proves yet again after “Chalo Dilli,” “Singh Is Bliing” and “Azhar” that she has taking it easy in her profession just when she has truly evolved as an actor.

To sum up, Balki’s best directorial since his 2009 “Paa” remains a benchmark in how to make an entertainer with a vital social message. Despite its 2.20 duration, there is not a moment when the film does not keep you involved in what is going on.

But lock, stock, barrel and more, the film belongs to that powerhouse actor, Ranveer Singh. He OWNS the film on-screen as much as Bhansali does behind the screen. You loathe his essay of Khilji, look at him with renewed respect as an actor who is less than eight years around but has the rare capacity to bring to life such a deeply evil character. Eyes, body language, smiles or tenor, he proves that dedicated actors can go beyond the vision of a script or even of a passionate director.

All we can conclude that the tribe of filmmakers with a complete disconnect with Indian audiences is alarmingly on the increase – and some of them can be really good storytellers if they choose the right subject, not necessarily the mainstream commercial. Soni deserves to exploit his métier and not waste his time in such w fake evolution as a filmmaker.