Wajah Tum Ho 2016 Hindi Movie
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Thrillers can lose the plot, thick and quick when they seek to be soft sentiments as well. Attempting to push a smidgen of everything into a film isn’t generally the correct equation. Vishal Pandya’s Wajah Tum Ho begins off as a wrongdoing thriller, sporadically transforms into a melody and move fest and at last tries to be an anticipation story with further wanders aimlessly. With such a large number of befuddled desires, the film turns into a showy hotchpotch, an unpalatable goulash.
Much like in Abbas-Mustan motion pictures, the thought behind T-Arrangement’s Wajah Tum Ho is to keep the crowd speculating all circumstances. The wrongdoing thriller begins off with the murder of a degenerate policeman being broadcast live on a news channel. The issue on everyone’s mind is the sweethearts managing this circumstance on inverse closures. Siya (Sana Khan) and Ranvir (Gurmeet Chaudhary) are legal advisors and a couple. Be that as it may, Siya is guarding her customer Rahul (Rajneish Duggal) while Ranvir is the police-delegated prosecutor looking into it. Controller Kabir (Sharman Joshi) is the voice of reason in the whole obfuscate.
What could have been a smoothly made thriller, continues taking breaks from its connecting with wrongdoing scenes to diverge to colorful abroad areas. Sana Khan and Gurmeet Chaudhary are compelled to trade their legal advisor robes for scanty garments, as their dream driven-sentiment with orgasmic expressions occupies the viewer. Both on-screen characters look incredible with their finely-conditioned bodies however the story of Wajah Tum Ho is not doing so good.
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At the point when the motion picture is not attempting to be soft, it adheres to a criminal examination account where Sharman Joshi needs to fight off an evil fitting police uniform and some silly exchange with a controlled, straight-confronted execution. A gifted on-screen character like Sharman merits better motion pictures and parts. Shockingly he leaves an enduring effect in even a jumble motion picture like Wajah Tum Ho.
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All deficiencies of a film can be pardoned in the event that it figures out how to engage. Yet, Wajah Tum Ho’s simply can’t cut it on that front. Indeed, even the melodies buddy dilke paas, Mahi ve and Aise na mujhe tum dekho are shoddy thump offs. The film offers liberal helpings of sight to behold however little wajah (reason) for proposal. Maybe reruns of yesteryear thrillers like Aitraaz, Gupt or Race would be more sensible stimulation.