Like in most films of this genre, the road-trip in Jia aur Jia is a metaphor for a journey of self-discovery. Prejudices are overcome, dark secrets are revealed, and life lessons are learnt, but there isn’t an iota of freshness in the way that the narrative unfolds.

Kalki is perhaps the only good thing about the film. Unfortunately, the script and dialogues do not leave much scope for her. There are precisely five minutes in the film where I could actually feel the emotions onscreen. Other than that, even Kalki’s acting could not save Jia Aur Jia from being an utter bore that borders on torture.

Jia Aur Jia has little interest in showcasing its scenic landscapes, glorious architecture or lively cafes. This same vapid approach dumbs down the talents of Kalki and Richa into pictures of hollow passions and iffy motives.

You can give it watch if you really want to watch any film, but my personal suggestion will be to save some bucks as the next two months are filled with pretty exciting films.

ia Aur Jia’s saving grace is that it resurrects Jiya o jiya, the title song of the Asha Parekh-Dev Anand classic Jab Pyar Kisise Hota Hai, for its background score. The music makes the opening scenes memorable, but when the entire remix of the song is sung along with the closing credits, the effect is completely ruined: Nisschal Zaveri’s Jiya o jiya reprise – performed by Jyotica Tangri and Rashid Ali – is flat in comparison with the original. Jia Aur Jia is flat, full stop.

One Jia wants to die and the other is dying and before you come to the 'Babumoshai' moment you loved in Anand (Rajesh Khanna, Amitabh Bachchan), you have plotted their demise several times over.

Old-fashioned but effective...You will be thoroughly regaled by the two actresses, specially in he way they reverse gender biases.