A foul-mouthed whore and a gentle-voiced young fellow are thrown together for a night, and the time they spend together impacts both strongly: the premise has promise, but nothing in the film ‘Yaara Silly Silly’ delivers on it.

Drugs. Cops. Gangsters. Youngsters. Mix ‘em up, and you get ‘Charlie Ke Chakkar Mein’. Or at least that’s what the film sets out to do.

The film should have been riveting. But it comes off as a slapdash, confused collage of scenes involving the famous jail break in which the real life Sobhraj broke free with several prisoners.

You end up feeling for Titli. You want him to break free, and fly away. He shines, and despite its darkness, so does the film. It is harrowing but imperative viewing.

…a non-stop barrage of stereotypes being played for laughs: rich Sindhi men and their love for living life large, grooms obsessed with their eight-and-a-half packs, limp-wrists and fat waists. Where’s the ‘shaan’ in all this?

Everything is predictable. These are new faces, and yet everything they do smacks of staleness. Overused themes can be infused with freshness only if the treatment is right: here, all elements are borrowed from older films and used so clunkily as to extinguish all freshness.

The first ​had some punch and​ was okay for a bunch of laughs. The sequel is flat and unfunny.

The film, and Gordon-Levitt, shines in this final act, as we watch, with our hearts in our mouths breath suspended, waiting for him to come back safely to the other side. Like the unbelievably fearless Petit, at this high point, you feel you are soaring, weightless, high above the world.

Aishwarya Rai Bachchan is over-the-top in this convoluted, over-plotted crime-drama…

After the spectacular ‘Baahubali’, we were all set for an encore with ‘Puli’, yet another period fantasy from the South. But this one is a crashing bore.