Aditya N
Aditya N
Geeta (Tabu), Jasmine (Kareena Kapoor), and Divya (Kriti Sanon), three flight attendants managing their households, find themselves entangled in a case of god smuggling where the distinction between necessity and desire becomes unclear. How they get into the mess and their problems in this process form the rest of the story.
Tabu was evidently the best of the lead trio, giving yet another enthralling performance. Kareena Kapoor Khan also delivers a convincing performance and confidently carries her character’s attitude. Kriti Sanon also shines with her acting despite the presence of her senior actresses. Kapil Sharma, Dilijit Dosanjh, and others were appropriate.
This film falls under the category of uplifting cinema, where characters radiate opulent wealth even under challenging situations. Director Rajesh Krishnan, capitalizing on the impressive ensemble cast, enhances the mischievous behavior of the upper middle class to inspire the aspirations of the Instagram generation with carefully crafted emotions. Balancing between daring and provocative, this lighthearted entertainer aims to demonstrate that modern women can express their frustrations and complaints just as much as affluent men. Following a string of adrenaline-fueled airborne episodes, this time, the female characters are elegantly dressed to captivate the audience. The first half works well and raises more expectations for the next. However, the second half gets convenient and illogical at times, but the leading trio makes up with their performances, and a neat climax gives a good feel.
As said above, the film’s lead cast—Tabu, Kareena, and Kriti—have delivered exceptional performances, and they carry the entire film on their shoulders. Their jokes and camaraderie work even when the screenplay bogs down a bit. The complete background score from the film is taken from Subhash Ghai’s KhalNayak song ‘Choli Ke Peeche,’ yet it effectively complements the film’s narrative, creating a genuine moment of celebration. The most significant plus point of the film is that the director pulled off a women-centered film without giving lectures about feminism or gender politics. He just made a crazy entertainer with females in the leading roles, which is a commendable job.
The concept of outsmarting the main villain in the second half is truly delightful, and there are moments of ingenious creativity. However, the authors, Nidhi Mehra, and Mehul Suri, rely a bit too heavily on the exceptional performances of Tabu, Kareena, and Kriti to transform smoothly talking into enchantment. The entire plan of the heist looks silly, and it could have been better handled with more crisp taking. The sarcastic comments made by Tabu and Kareena about their age resonate effectively, but in general, their talent deserves a more comprehensive screenplay.
