In spite of the smart comic punches, timing and earnest performances, the story lacks the ability to engage you thoroughly. A few scenes (Amit seeking relationship advice from his best friend) seem unfunny. Songs are pointless. Also, the story moves at a lethargic pace and it gets to you since you can predict the ending. Mismatch or Miss Right? Instead of waiting for that ‘perfect rom-com’, you can give this a try.

If you get spooked easily, you may not mind this one. If you like horror, watch Insidious (2010) or Ram Gopal Varma’s Bhoot (2003) again. Those are classics.

Just when you feel that M3 might turn out to be a decent ‘whodunit’, the film changes its genre and becomes an inconsequential love triangle.

In spite of the odds, COH stands out for its earnest performances and thoughtful music. The film is tense and atmospheric. Wish it was more in-depth as well, given the gravity of the subject.

Tthe film is as unique as superstar Shah Rukh Khan, but it lacks his charisma. Editing is a major flaw. A few scenes end abruptly while the rest go on forever, making you wonder if the director forgot to say ‘cut’. A slow build-up and a comparatively hurried climax are spoilers too. Even the dialogues are not as funny as they should ideally be.

The film lacks novelty. The story has been done to death and characters aren’t established enough for you to feel for them. Action junkies may not mind watching this one. For the rest, revisit Vijay Deenanath Chauhan instead.

The film has a decent premise. It starts off as a story about people who are destined to meet. However, in no time, the tale of eternal love and serendipity turns into a soppy love triangle, hints reincarnation, gives references to Adam and Eve and basically loses the plot. Barring Ravindra Jain’s soulful music and Jackie Shroff’s presence, everything else fails.

While it’s brave of the conservative Rajshri productions to take the leap – from family dramas to thrillers, the effort should have been more compelling. While Sherlock Holmes was dismissive of mediocrity, Samrat succumbs to it.

What however doesn’t work for the film is the fact that it borders on abstract at regular intervals and lacks continuity, making a few scenes and conversations seem out-of-context.

Nonetheless, the film is emotionally liberating. See it to believe it.

You don’t identify or sympathise with the lead character or her dilemmas and there lies the film’s failure. In spite of watching her weep throughout, you don’t feel for her. The situations look forced and uncalled for. The film may have worked had it been a soap opera but otherwise, it’s painful to sit through this archaic tale of endless misery.