Guddu Rangeela has flashes of the originality we saw in Kapoor’s earlier films Jolly LLB and particularly Phas Gaye Re Obama. But it’s weighed down by a lousy script that squanders all potential.

…the movie is fashioned as a jaunty ride through Jatland, a theme currently all the rage in Bollywood. Kapoor demonstrates a growing assuredness, which is clear in the robust, cracking portions of the film: all he now needs is a solid hole-less plot with lines to match.

Guddu Rangeela attempts to build a narrative around ‘passionate crimes’, but fails to hit the right crescendo because of flawed writing. This is one story which has got all the basic elements, but their placement in the story is flawed. A character in the film very candidly says ‘crime me personal touch aa jaaye toh crime passionate ho jaata hai’, and this is exactly what is missing in the film: A personal touch.

A review of Guddu Rangeela in its own tone and style would simply say, with a smilie: GR is neither rangeela, nor very guddu-guddu. And for this the satisfied team of Subhash Kapoor and Arshad Warsi are to blame.

…works in parts. Disjointed fragments of the film stand out instead of the whole story. In trying to pack in too much of suspense and drama (melodrama, at certain points), Subhash Kapoor leaves the viewer dissatisfied. Watch it if you have to, for the chemistry between the two male leads.

…quirky dialogues do not make up for its overly commercial plot. The film loses its meaning thanks to a dragging second half.

The shaky camera notwithstanding in a handful of places, the film’s cinematography (James Fowlds) too is very average

On the whole, GUDDU RANGEELA is quite ‘colourless’ and offers nothing new.

In Guddu Rangeela, director Subhash Kapoor pays a nod to the greatest story ever told, Sholay. In fact, it is more than just a nod. He uses the same template to tell a more contemporary story and has also made an effort to make it socially relevant.

Arshad Warsi puts in a decent effort, but he’s saddled with a role where he’s grossly miscast as a young bridegroom on the run. Amit Sadh is sincere. There is a spark of chemistry between Hydari and Sadh, only if it wasn’t nipped in the bud by cheesy lines. Ronit Roy is brilliant; only if he had a better character sketch he could have taken this film a notch above. If only.

The duo does nothing without seeking backslapping punchlines in their violent arguments. It’s almost as if they’re two stand-up comedians seeking an audience.

Guddu Rangeela could’ve been great had Subhash Kapoor stuck to making a satire that tried to do something about the appalling backwardness of our hinterlands. Instead, we get a middling and uninspired action comedy that’s neither entertaining nor enlightening.

The film might have seemed an interesting, ambitious, black-humoured take on crime in the menacing hinterlands. But what we get is a watered-down version of the above. If you must watch it, look out for the few interesting moments, within the largely insipid, colourless film.

…while the attempt is to keep the look and feel of the film authentic, a story like this would never have happened in real life. It is not even about the over-simplistic narrative. It is one of those films that asks you not to think too much.

The film doesn’t underestimate your IQ as most Hindi films do. Watch it if you have got nothing to do on the weekend.

Kapoor tries to say too many things at once which all seem disjointed, had he focused on one aspect; the outcome would have been different. As it is, only watch if you have nothing better to do this weekend, or are a huge fans of the star cast.