Critic’s Rating: 2.5/5
Avg Readers’ Rating: 2.5/5
CAST:Shahid Kapoor, Alia Bhatt, Pankaj Kapur, Sanjay Kapoor, Sanah Kapur

The film opens to an animated backstory of an orphan Alia (Alia Bhatt), who is brought home by Bipin Arora (Pankaj Kapur). The matriarchal Aroras, helmed by granny Kamla (Sushma Seth) don’t take kindly to her being included into the fold. Granny grumps, even casually refers to her as “anaath”. Alia suffers from sleep deprivation. Not the depressive sulky kinds, but the type that sneaks out in the middle of the night to dive into neighbourhood streams and talk to computer-generated frogs.

Bipin (who she calls Beeps) has a unique solution to help her dream: he sketches them for her on a sheet of paper every day. While this doesn’t compensate for lack of sleep, it makes her intellectualize about the world around her. In one scene, she gravely points out, “Blind log sapne dekh nahin sakte, sirf mehsoos kar sakte hain.”

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Also suffering from lack of ‘neend’ is Jagjinder Joginder/JJ (Shahid Kapoor), the wedding planner, called to orchestrate the alliance between Bipin’s daughter, Isha (Sanah Kapoor) and Sindhi millionaire Fundnani’s (Sanjay Kapoor) brother Robin (Vikas Verma).

Fundnani’s contribution to humour is vehemently proving that everyone from Michael Jackson to Queen Elisabeth is a Sindhi. His blinding bling even manages to make the remaining cast squint when he steps out of his goldcoloured stretch limo, like a Diwali Terminator, smothered in gold, from boots to shades. Finding JJ squint, he wonders, “Kya tum Japanese ho?” The only one-liner in this film that works.

The wedding in question is supposedly a front for a business deal from which the Aroras hope to sort out their mangled finances (they’re bankrupt). But the lack of plot blows up on our faces when the inevitable follows, packing in every cliche in the book.

The most insufferable scene in the film would be the one when Isha’s blouse rips, resulting in incontrollable laughter by her groom-tobe. She sheds her bridal finery in public and breaks into a monologue that draws a hollow sense of female pride and is doused in misplaced feminism.

Many elements in the film seem to be included, just because the production could furnish it. A sky dive, a horse ride and a Sindhi poll dancing in golden boxers, don’t make or break the film or complement the script but why not?


One would imagine that Shahid Kapoor’s last, the critically-acclaimed Haider would’ve made him more selective. But this role seems to be picked up from the bumper sale on an e-commerce site. While he is committed to this character, he could’ve read the script (if there was one) to see where this was headed. Alia Bhatt has matured as an actress and socks life into her character but fails to pump any into this film. Pankaj Kapur and Sushma Seth have been terribly wasted in the film and left to mouth weak dialogues that lack punch. If this was Sanjay Kapoor’s comeback, one could stage protests outside multiplexes, with the slogan, “Go back” …behind the camera that is. Pankaj Kapur’s daughter Sanah Kapoor makes a promising debut here. While this film doesn’t allow her a strong platform, we’d surely like to see her again.


Director Vikas Bahl, best known for helming films like Queen and Chillar Party, has acquired a reputation for himself and unfortunately for him, people have expectations from this one. But unlike his previous ventures, this one lacks soul, sensitivity and a scriptwriter.