There is nothing of caliber in the lines spoken or in the music to support the film. But great camerawork by Imre Juhasz and Mohana Krishna and action by Allan Amin are pluses, and strong ones at that. Prasad Sashte’s background score is novel and brilliant.

Wish we could say that also about the film. Action at any cost seems to be its maxim.

Yes, the first half of the film is riveting for the most part when it is not being too (pop-) corny, repetitious or stretched in parts. But, while our hopes escalate as the second half begins, we find in it a shockingly disparate and disconnected narration from the first part. The last 25 to 30 minutes seem to go on for eons, and are frankly unbearable and hopelessly clichéd.

While the first half of the film is simply super, the second half undoes a lot of the expectations. The high emotional quotient drains away into cliché-ridden melodrama, abrupt ends to some threads and a truly hurried ending. Such endings usually are caused by unsure scripts and directions or severe budgetary constraints, but here it looks as if some practical exigencies led to such contretemps, like, maybe, Nargis Fakhri’s absence from India for a while!

While technically the film is alright, we could have done with a little more brightness when needed, a less grim look (a failing also seen in Sircar’s “Madras Café”) and too gloomy background score, and a bit of pace. Pannu as Meenal is a revelation — here’s a chameleon who can move from “Chashme Baddoor” to “Baby” to this with effortless and artless ease.

Watch this film if you want simple entertainment. It may have done-to-death elements (barring the new sport of golf for our cinema), but it is delivered with a lot of soul.

The dull, snail-paced narrative might even confuse the viewer, and is completely devoid of any point. The film does make a case for finding time for one’s wife, kids and loved ones; loving your spouse for the right reasons; and living a selfless life, but, in a very garbled, convoluted and ham-handed way, so that you have already lost interest in, sympathy for or any empathy for the lead characters!

Disappointing, Tepid and Needlessly Dark Drama…

Originality? Freshness? Who wants that anyway? After “ABCD 2,” this is another downer from D’Souza and his pet music directors!

The flaws and loose ends are quite minor and can be completely overlooked in this super enjoyable fun fest. For me, producer Aanand L. Rai and Eros have scored a distinguished hat-trick after “Tanu Weds Manu Returns” and “Nil Battey Sannata.”

Decent Thriller Bogged Down by Weak Script…