The Xposé has exposed a sad truth from our film industry. We have the ability to make really bad movies.

It’s a stupid film that knows it’s a stupid film and celebrates it, without being melodramatic or overlong (it runs for just under two hours). Come to think of it, that’s a lot like every Yo Yo Honey Singh song ever.

The Xposé is an engaging suspense thriller with hit music and excellent dialogues as the plus points. It will do fair business but it has an extraneous factor working against it and that is that it has a limited window of just one week to do business because it will face a major opposition in the form of the eagerly-awaited film, Heropanti, next week.

The Xposé’s cheerfully chintzy look and feel, the lack of interest in period detail, the wispy plot, and endless shots of a pensive Reshammiya walking down a Paris avenue, gazing moony-eyed at Zara’s rival Chandni (Afroz), dominating the shooting of an under-production movie, and yanking every other character’s strings this way and that add up to an ambitious vanity project that holds appeal only to other members of the singer’s treasure hunt. Full marks for trying, but none for refusing to give up.

Entertaining pulp fiction that turns spoof-ish, thanks to the convenient twists.