Knock out

It's ironic how filmmaker Mani Shankar is unashamedly dishonest about weaving a tale that vehemently advocates honesty. Isn't creative pilfering just as pertinent as political corruption? Or does he believe that all's fair in love and movies?

Not only does he blatantly lift Joel Schumacher's Phonebooth script and pass it off as his own, he even tweaks it by referencing bits and parts to Neeraj Pandey's A Wednesday. And the end result: a dismal hogwash. Apart from being illegitimate and unethical, his tale is inexcusably tacky and deplorably depressing.

Just like how the ruthless sniper traps the deceitful banker in a phone booth, menacingly guiding him through a path of redemption, we'd like to pin down Shankar and put him through similar torture to teach him a lesson or two about creative credibility.

While the sniper remained anonymous in the Hollywood original, with only his voice intimidating us and his victim, Shankar publicises his suave sniper, dressing him in black trench coats and giving him sleek gadgets to play with. Despite the attention, Dutt appears burdened by the lengthy dialogues and a stretched-out operation. Even Khan emerges lethargic and uninterested, even though he's the target. Among the supporting cast, it's Sushant Singh and Grover, who appear genuine in their effort. But the blotched script doesn't allow them much to do. Ranaut, however, walks away the weakest. Surely, she doesn't believe that all crime reporters dress like business channel newsreaders while on the field? Filmmaker Apoorva Lakhia's guest appearance is really unnecessary. His dazed expression and staccato dialogue delivery is highly cringe-inducing. Clearly, it's best he remains behind the cameras!

Take our advice, avoid this mess.