With Tiger around, filmmakers normally do not bother finding a script. Instead they just coast along joining the dots of a routine story with neatly-choreographed songs and fights at regular intervals. You can almost record screen proceedings with your stopwatch because after every 15 minutes, there is a–song, fight, song, fight and some more blah.
Tiger has in the past made films like Heropanti, Baaghi work at the box-office with just his agility and sincerity. So director Sabbir Khan, whose third outing this is with the star-cub, continues providing formula for the intellectually challenged. But Tiger fans will have a field day with his breakdancing.
In what seems like an encore of his previous work, Tiger dances like a dream and breaks bones with the grace of a ballerina. You can only tell that this is a different film only because he mouths a different dialogue here. It goes, “Munna jhagda nahi karta, munna sirf pithta hai.”
How cleverly original that is! But, grant it to this star-son. He continuously pulls out weapons from his arsenal–back-flip, midair Van Damme-split and kick, glide, moonwalk or a just bare-body shot—forcing his audience into submission, even though there’s no semblance of anything coherent showing on screen.
When the fidgeting reaches a frustrating point, you’re introduced to the land-grabbing, gun-toting goon, Mahindar, who hires Tiger to teach him some mean moves on the floor. Furthermore, this Don with a Rajasthani dialect explains that the reason he needs to correct his two left-feet condition is because he’s madly-in-love with Dolly, a dream-dancer from Meerut.
Debutant Nidhhi, who is the bone of contention here, is overconfident and underwhelming by turn. She wears a neat shape on her but then again, it is Tiger’s chiseled frame that draws more whistles than the newbie’s.
Nawaz continues to be a revelation in each film. Here he adds a new dimension to his terribly mean, horribly funny routine, making you chuckle.
Well, if you’re in the mood to get rid of the monsoon blues with the foot-tapping ding dang, ding dang ditty, you should get introduced to Munna Michael; he’s not making breaking any new ground, but his moves are certainly infectious.
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