Tu Hai Meri Kiran

This film, which borrows its title from a film whose stalker hero saga became a super-hit in the 90s, never even achieves lift-off. The proceedings get increasingly more hare-brained, the flash-back-and-forward scenes arriving at speed, leaving us exhausted. Neither the stalker nor stalkee can save this convoluted mess from sinking.

Tu Hai Meri Kiran revisits familiar territory but finds an interesting way of approaching it. Its old-fashioned phone connection gives the story an eerie quality, while its central conflict offers a timely reminder that possessiveness should never be mistaken for affection.

With minimal use of CGI, which today's films lean on far too much, Rawal spins a dark and enjoyable tale of the dangerous obsession of a man who believes he has been dealt an unfair hand in life. It does look at times as if the film is going off the rails, but Rawal brings it to a satisfying close, which is believable even in a fanciful set up.

TU HAI MERI KIRAN stands out due to its unconventional premise, unexpected twists and engaging first half. However, the complicated narrative, unconvincing developments in the second half and certain unanswered questions dilute the impact.

Tu Hai Meri Kiran has a promising premise, a watchable first half and an interesting idea about love, obsession and fate. But there's a difference between keeping audiences guessing and leaving them confused. This film manages the latter far too often.

The premise is fresh enough to grab your attention, and Sonakshi Sinha and Zaheer Iqbal make a decent team. But the writing gets so caught up in its own twists that the story begins to lose its way. The film's biggest problem isn't time travel. It's that the screenplay seems to have travelled a little too far from common sense.