John Abraham is sincere but is handicapped by his poorly-etched character. Mouni Roy and Alka Amin, as his girlfriend and mother, respectively, have nothing to do. Yadav is alright, and so is Anil George as Afridi. Two actors who act competently but are wasted after a long gap are Suchitra Krishnamoorthy as Rehana Kazmi, an Indian journalist, and Shaadab Amjad Khan as Afridi’s son. Sikandar Kher is just okay, his performance clichéd and on the borderline of hamming. The others just fit the bill.

The film, sadly, does not.

As for the overall film, pardon me for the brief and superficial-looking review. For one, this critique is quite adequate to describe this gigantic disappointment. For another, it is an uphill journey to find words, even more, to sit through the inordinate length of the film!

If you are a hard-boiled Salman Khan fan, watch Tips’ “Race 3.” Or else, if you are looking at good entertainment, let us offer “3” sincere Tips: (1) spare yourself 3D agony (the extra dimension was not needed, and the resultant camerawork is needlessly dark); (2) “Race” to your DVD library and watch “Race” instead; and then (3) revisit “Race 2.”

…when the film ends abruptly, we almost feel that the writing and production team has suddenly decided to finish it all, as if to say, “Enough is enough! Let’s get done with it!”

But by then, the audience is already tortured, its patience worn thinner than the plot!

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.

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.

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.

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.

The film drags on 30 minutes more than the earlier film, with even less material to go by. In both cases, we end up wondering if we had not been better off watching even “1921,” if not some other really good film.