Worth a watch if you don’t mind the insinuated ‘80s style melodrama and the simplistic storytelling.

This story of a poor little rich girl falling for a rank opposite could have been cute in a rom-com kind of way. But everything in Main Aur Mr. Riight (that double ‘i’ is particularly bothersome), from the emotions to the characterization, is way too synthetic to leave an impact.

The film is worth a watch strictly for the cast and the songs. That’s if you’re willing to endure the unbelievably long and violent film for that. Clearly, Prabhu Dheva (Wanted, R…Rajkumar, Rowdy Rathore) is in no mood to let go of the stale Bollywood formula. And as the audience, you can either play along or move on!

The issue the film takes up is pertinent and that needs to be applauded. Even the solution— that of common people breaking the law to teach the corrupt and criminal a lesson— had potential for a rousing story. But where’s the point, if the execution doesn’t convince you of either the path or the people undertaking it. This could have been a highly impactful, immersing film that, despite its intent, falls tragically short.

It’s disappointing that director duo Krishna DK and Raj Nidimoru (Go Goa Gone) have come with as film that is pretentious and hollow, embracing the very cliches it makes fun of. After all, it’s unfair when a pot calls the kettle black.

For the cast, and a few interesting moments, and the stylistic treatment (that often goes overboard), this one’s an ok watch. That’s if you’re up for a cliched story packaged a little differently.

In the end, director Abhishek Sharma (Tere Bin Laden) gives us a fast food version of what was a very charming and humorous film. Go for it if you have the stomach!

Producer-director Indra Kumar (Grand Masti, Dhamaal, Dil, Beta) gives us an unpalatable mash-up of Baghban, Khoon Bhari Maang (the makeover portion), and the regressive portions from English Vinglish. Yup, that’s right. Run the other way.

In the end, director Kamal Sadanah perhaps intended a well-meaning film but got the grammar of filmmaking all wrong. With a subject such as this, it’s truly an opportunity missed.

The film, directed by Navneet Behal, gives the viewer nothing new. One wonders the purpose of making a crime film (we recently saw Desi Kattey, again titled after guns), that the viewer has seen a hundred times already. Curious, really!