The humor is hysterical but never consistent. And sadly there’s not a lot more to it.

Akhsat Verma’s directorial debut is very much of the it-happened-one-night format, where all kinds of people are on the move, and stuff happens. Saif Ali Khan makes the most of his part, even though you wish it had a little more heft.

Saif Ali Khan outshines a sloppy script…The Saif ALi Khan-starrer is a thriller at best and an attempted comedy at worst.

Even as you continue to watch the film patiently, beyond a point, it’s nothing to write home about. You eventually sum up your thoughts on the film by borrowing the film’s expletive-laden dialogue —, ‘experimental ke naam pe chu*****’?

Kaalakaandi is just about Saif Ali Khan’s and his amazing performance as a recently turned stoner. Akshat impresses with his wild imagination but unfortunately when a film is bad not the biggest of the superstars can save it.

KAALAKAANDI has a promising first half but goes completely downhill. At the box office, it has slim chances of becoming commercially successful.

‘Kaalakaandi’ tries a fresh approach – it’s for a niche audience with some edgy scenes and bawdy dialogues – but I am not sure if this is everyone’s cup of tea. Watch it if you must. Saif – in top form here – will keep you entertained, even if the film fails to.

It is hard to believe that a film directed by the writer of Delhi Belly is, for the most part, a drag. Despite Saif Ali Khan being in cracking form, Kaalakaandi lacks fizz and purpose.

If you think a story like Delhi Belly could be replicated or something ‘as cool’ could be made, Kaalakaandi will disappoint you. Three random stories in one night in one terribly pretentious film that tries too hard. Fails.

The direction of photography by Himman Dhamija saves the film as some wonderfully shot scenes are the bearable visuals that you can definitely admire. What’s wrong with this soaring black comedy is that it fails to convince some real-life karmic lessons through a night that turned everyone’s life topsy-turvy.         

The Film Has Less Than 10 Percent of the Hilarious Quotient of the Writer’s Past Work.