“dhik-chak–dhik-chak-dhum-dhum”. What a warm welcome! That’s the background score using all its extra energy. Well-accompanied with well-endowed cleavage. No - there isn’t any connection. That’s just what stares you in the face at the word go. The interesting editing used in the beginning to establish the characters makes you ignore the loud score - at least for a bit. Unfortunately though, the story is pretty much predictable and thus becomes a chore to watch.

Everything seems half-baked or in some cases completely uncooked. Shreyas Talpade looks good but seemed a bit off playing the mature character. Then again, that might have been very intentional. Udita Goswami plays a character who is constantly under duress and underdressed. So can’t really blame her for the singular expression she wears through most of the movie. Tusshar Kapoor - can’t blame him either. He was miscast. Look at him! Obsessed lover? Doesn’t work at all!

As in most cases, the script is the deal breaker here. It is neither coherent, nor researched, and has got it all wrong as far as plot points is concerned. “slish-slash-whiplash”. The background score is still at it. And so is the flesh show. Towards the end, your head is spinning. One would think I am trying to blame the music, but I am not. It’s the multiple supposed “twists” that get annoyingly weary on my one-kilo brain. So much so that you begin suspecting the very premise of the whole plot.

I completely understand that the film-makers believe that the genre required loud music. I am glad though that they didn’t think so about camerawork. That and the slick editing put together made some parts really interesting, visually. Especially during the titles and a couple songs. While the music is just about alright, the lyrics of “ke bin tere” are nice.

“tak-tada-tak-bluck-bluck”. They just won’t let go…till the last shot. I admit it is a bit unfair to pick on just the background score, when almost every other department needed a lot more work and re-work.