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And his actors are much too ordinary to do it on his behalf. There’s no effort from the Bhatt scion to develop his one-note characters plagued by knotty emotions like insecurity and greed into someone exciting, someone greyer.

We all know how that worked out in Abbas-Mustan’s Players, again an official remake, of The Italian Job. Till her entry, the screenplay moves at the pace of a three-toed sloth but gains a little momentum as her presence rings in a feeble hope of jeopardy.Īlthough it’s almost a scene-by-scene replica of the original (save for the lack of explicit nudity and a ferocious Alsatian swapped for a bunch of songs that read out like a bunch of gooey Valentine cards), first-time director Vishesh Bhatt is unable to recreate the organic fear or despair of its slick source.įor better or worse, he doesn’t try to improvise on the script either. There’s also Aditi Rao Hydari representing the former girlfriend gone AWOL but mostly trying to prove her potential at playing sexy. Giving him company in a grand mansion, quite lavish even for a celebrity photographer (he’s switched from capturing bare wildlife to barely-clad models) is Sara Loren playing an opportunistic waitress with the heart (and brains) of a bird. With the Bhatts’ in-house face of lust Hashmi going the credible route through films like The Dirty Picture and Shanghai, Murder 3 banks on Randeep Hooda’s blank expressions, unblinking stares, muffled dialogue delivery and a strange pixie haircut to pull through.