Imran Khan and Kangana Ranaut look completely mismatched in the movie and have no spark or chemistry between them. This makes the scenes in the movie appear cold and they lack any kind of liveliness. Khan with his age defying looks and charm as the college going Maddy looks somewhat convincing in some parts of the plot. Despite the loose script, he tries to give a power packed performance. Ranaut too tries to show her acting skills, but all she gets to do is wear outlandish clothes with whacky hairs and still she looks so unnatural.  ‘Katti Batti’ in reality, shows Imran to be Kangana’s accessory as she fondles and treats him playfully. It is time to wait and watch whether Ranaut is able to make the movie an impossible hit despite its disappointing filmmaking and a flop hero. Both Kangana and Imran are trying hard to ignite the hopeless chemistry that is nowhere visible in their hollow relationship in the movie. The lead characters in the movie are ill suited to play their respective roles, as Kangana is a total miscast in the form of a sophisticated woman and Imran is unable to catch the audience’s attention for long. The humour in the movie makes you cry out aloud as you might even yell out as to why it is there in the first place. The screenplay of the movie is highly overstretched and looks like plastic, lifeless and harsh. All that the movie unveils is cleavage-revealing employees, goofy boss, adult characters who are adolescents in every way they react and much more. Well, these are all the reasons which form Katti Batti, which you will not regret even if you miss it..Do you remember Aamir Khan cried after watching Katti Batti?? Now we know why!!

If media reports are to be believed then the makers of Katti Batti wanted to go with the title of ‘Saali Kutiya’ initially, and now I wonder why, because the film fails to instigate any emotion, leave aside loathing for its female protagonist. On hindsight, it was a good decision to stick to Katti Batti because this rudderless drama has at least one interesting thing: its title. Katti Batti fares badly in almost every department and the writing is the worst hit. The characters are shoddily written and it’s difficult to feel for any of the lead actors. The actors look clueless in absence of a coherent story. Advani has used good transition tools, but they are ineffective because of average acting by both Imran and Kangana. The literal toilet humour of the second half makes life more difficult for the audience who witnesses a really prolonged climax for no apparent reasons. First Hero and now Katti Batti, director Nikhil Advani has delivered two back-to-back duds in consecutive weeks. In fact, Katti Batti makes Hero appear like a good film. It’s a terribly bad film. A rehash of old Bollywood hits, Katti Batti is far from perfection. All the claims of a fresh love-story were false, it doesn’t offer anything. Two lines from Roger’s song sum up the essence of Katti Batti: Pyaar karne waalon ki jala de lungi….Pyaar ki pungi, pyaar ki pungi.

In 2007, a film called Dil, Dosti, Etc. was quite the rage in Delhi University, thanks to its story. It was based and shot in North Campus, and introduced the country to certain catchphrases and acronyms. One among the latter is 'FOSLA' - Frustrated One-Sided Lovers' Association. After the film, every 'Relationship Status: Single' person has had to face being added to a Facebook group called 'FOSLA' by someone or the other. Irrespective of whether or not the person being made a member of the group actually had anything to do with the first three words there. Eight years later, director Nikhil Advani decides to sound cool and baptises a music band 'FOSLA', with the members eagerly explaining what the name means. Katti Batti essentially deals with this frustrated, one-sided lover's story. It has also been called an 'anti-love story'. What it finally ends up as is a mishmash of Advani's films and several other well-known ones. Katti Batti takes a tried-and-tested genre and muddies it up even further. The non-linear storytelling acts as yet another impediment in the smooth running of the film. Anshul Singhal's story borrows from several films. One can find snatches of Advani's own Kal Ho Naa Ho, as well as Hollywood flicks like Sweet November and The Fault In Our Stars. Right after the trailer was released, Katti Batti had drawn comparisons with (500) Days Of Summer too. However, the film obviously is not an out-and-out copy of any one film as such, but it lacks originality and how! So, even when the filmmakers and the cast and crew try their best to make you believe it is a 'fresh story', Katti Batti gives you a strong sense of been there, seen that. In all, you might as well skip Katti Batti and do something more worthwhile this weekend. Those are 2 hours of your life spent wondering when you'll be able to walk out of the theatre. Unless you want to be subjected to the 'F' of 'FOSLA'.

Imagine you are riding an unruly mare who trots, tossing you about, and then after nearly two hours and fifteen minutes of a tumultuous and awful ride, drops you at your destination, safe and sound. That is exactly what you would experience while watching Director Nikhil Advani's Katti Batti. On the face of it, Katti Batti is supposed to be a rom-com involving a die-hard romantic and a commitment-phobic girl, at least that's what the trailers promised. But what you get is a potpourri of emotional trajectories offered in a non-linear, confusing and obscure manner. Kangana and Imran make a lovely, volatile pair. Their on-screen chemistry is palpable. As far as performance is concerned, the film is Imran Khan's canvas. His is the only character that is well etched. With his look recollecting the charm of Dilton from Archie's comics, Imran is honest, charming and expressively convincing. You like him when he woos his girlfriend, admire him when he sticks to his guns and hate him when he is boorish and callous. On the other hand, Kangana Ranaut as Payal Malhotra who comes from a broken family, is an extension of the various roles you have seen Kangana perform in her earlier films. She brings nothing new to the table, except for confidently carrying herself off with a plethora of outlandish wigs in the staid role. But what the director does not realise is that too much masala could spoil his film, at least for the audience. Overall, the tragedy of Katti Batti lies in the fault of its director.

Nikhil Advani’s Katti Batti is an imbecilic cliche-ridden embarrassment that made me want to punch it in the mouth. Because it is that bad, yes, but also because a spurt of blood may just enliven it with something approximating realism -- for this is a romantic drama that, not knowing its place, happens to be executed like horrid, tasteless slapstick. There are times when this movie is as loud and unbearable as, say, a Grand Masti. The film doesn’t give Kangana anything to do, in fact, until the shamelessly manipulative climax where she does knock it out of the park -- too late for anyone to care, however -- and Khan, to put it politely, struggles with the hardcore histrionics at the very end. Also, dear filmmakers, we must here interject a plea: do not give Ranaut English words to say unless you direct her into saying them right. Advani’s last film, Hero, released just a week ago, and I decried it for being an unnecessary, mediocre remake. But that was a lunkheaded actioner and we’re kind of used to those films being daft. Heartbreak, on the other hand, is rarely this synthetic, this thoughtless, this obvious. Katti Batti just smells wrong -- and that may well be the most universal dealbreaker of all.

Kangana Ranaut, Imran Khan starrer wastes our time most comprehensively and completely. A few minutes into ‘Katti Batti’, my jaw dropped. I collected it, with great difficulty, only after the film was over. Because the question—just what IS this?– which popped into my head almost with the first frame got into such a loop that it chased all other coherent thought away. Can we get people who write dialogues where we do not hear the characters think in English when they are speaking in Hindi? Who says : “woh aagey badh chuki hai”, when you know they mean :” she’s moved on”? Why can’t the character just speak the line in English when we all speak in a Hindi-English-Hinglish mix? Can we get supporting acts that are not so laughable? Can we get, at the very least, a couple that genuinely sparks? Imran Khan is pleasant and earnest, Kangana Ranaut has knocked it out of the park a couple of times while playing feisty, and is capable of mining real emotions even in the fakest of films. 

So, Katti Batti is sweet, funny, sassy - but inconsistent. Maddy (Imran) and Payal (Kangana) fall in love, moving into a New York-like Mumbai apartment, living together in yuppie style. But slowly, the romance of bedside candles and naughty home videos fades and life - feeding the pet, paying the bills, withstanding family tragedy - happens. On the plus side, Katti Batti is one of the freshest-looking movies around, young, modern and hip. Its lead pair looks terrific - Imran simply rocks the nerdy glasses-and-stubble style while Kangana can clearly do boho-chic-chick asleep - and the movie's a delicious mash of tattoos and linen shirts, wineglasses and vintage jars, spaghetti straps and stunningly tiled floors. But herein lies the problem - Katti Batti can't get over its own good looks. After a breezy first half, its story meanders, growing heavy while the bond between the leads feels too light. The movie is divided into dramatic cross-sections, moving from present to flashback, but the editing is too leisurely for powerful impact. Certain sequences - a contemporary Devdas, with 'Chandramukhi on LoC' - are hilarious but others - a 'Fosla' (Frustrated One-Sided Lovers' Association) band - add extra weight to a storyline that should be lean. Somewhere between glossy ad, glassy music video, sitcom and masala movie, Katti Batti leaves you pouting. This could've had the lusty, gutsy power of a full-blown French kiss - it ends up a pleasant but passing peck on the cheek.