Year:  2014

Director:  Rahul Nath

Rated:  NA

Release:  Out Now

Distributor: TMA Releasing

Running time: 71 minutes

Worth: $5.00
FilmInk rates movies out of $20 — the score indicates the amount we believe a ticket to the movie to be worth

Ulka Simone Mohanty, Ahmed Lucan, Shruti Tewari, Reem Kadem

This is premium bad movie.

Films like this appeal to a very specific subset of the public. No, that is not in reference to the film’s predominantly Indian-American cast, how Indian culture and customs play into the plot, or even its position as a revenge drama. Instead, the specific part of the potential audience that could potentially vibe with this production wouldn’t be going after it for legitimate reasons. They’d be watching it for the same reason as films like After Last Season, Plan 9 From Outer Space, or anything made by naïve surrealist Neil Breen. If none of this applies to you, you can safely stop reading and forget this thing exists. But if it does, have we got a new addition for your next bad movie night!

The acting is astonishing in just how over-the-top it is, with everyone sounding like they should have RiffTrax rebutting every single sentence they utter. Ulka Simone Mohanty in the lead as Vaidehi, a woman in a loveless marriage who is abused by pretty much everyone around her, admittedly does alright in the mode of the gaslight victim, but once she goes full revenge-crazy, she ends up joining the others in their ham parade.

Not that the material they’ve all been given could be salvaged by even the finest of acting talent. While the plot on its own is decent, banking on the same kind of conspiratorial gaslighting that gives films like Unsane their thrilling edge, it’s presented about as well as The Room depicted breast cancer or infidelity. Most of the story boils down to Vaidehi being robbed of her bodily autonomy, which, rather than being horrifying, veers into being hilarious because of the tasteless presentation. It’s like John Waters’ Polyester got into a fender-bender with Scott Tenorman Must Die, and the tone is about as consistent as that sounds.

To say nothing of the production values, which somehow push this already-calamitous mess into the realms of legendarily bad filmmaking. The soundtrack keeps switching between ethnically-tinged elevator music, and lounge jazz that will likely make the audience hungry for tossed salads and scrambled eggs. The colour palette courtesy of Swan Sindhu Moti looks like slightly warmed-over beige in pretty much every scene, and the cinematography is sterile, awkward and only ends up compounding the weirdness of the people it’s capturing. Incidentally, the cinematographer in question, Stephen Treadway, also worked on the infamous Cool Cat Saves The Kids, a fact so mesmerising that there is literally no joke that could follow it up that would heighten the lunacy going on here.

This is premium bad movie, the kind people typically find by accident and then send to every like-minded friend they have like the world’s cringiest creepypasta. At barely over an hour long, and without enough actual plot to fill up even that much, this is a tightly-woven tapestry of perplexing tedium that, with the right mindset (which may or may not involve copious amounts of alcohol), can make for a great night with friends. Khazana is kha-razy.


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