But I actually liked KANK. So kill me.
Maybe I am partial to the Karan Johar genre of escapist NRI cinema. Maybe I just love three hours of big stars, fabulous songs and designer outfits. Er...maybe I just have a teeny-weeny crush on Preity Zinta.
Abhishek Bachchan was particularly impressive as Rani's charming boy-husband and also effortlessly matched Daddy Bachchan's charisma in the Rock and Roll song sequence. Watch out SRK, the Junior B might just steal your thunder.
Preity had a similar amount of screen time but pales in comparison to the Bachchan duo and Chandigarh (l)ass Kirron Kher.
But the film could have done with some better editing in the second half. It was a tad too long with little comic relief. Who wants to watch a cynical SRK and Rani cry their heart out when they could have more of happy-go-lucky Abhishek and pretty Preity instead.
(Warning: Spoilers follow)
However, KANK's ending made up for all its shortcomings. Audiences had a sneaking suspicion Johar would play safe and make the love-struck couple return to their spouses. But as the 200-minute epic draws to a close, the director boldly flings aside the dictates of conventional cinema.
Lovers SRK and Rani finally end up together albeit after a three-year "punishment" for their "original sin" - making merry in bed while their spouses Abhishek and Preity are dancing away to Where's the party.
KANK (pronounced like BANK not SKUNK) has even forced Chidanand Rajghatta to sit up and take notice in his TOI column(though for NRI-related reasons)
Word from box-office gurus in America is that KANK raked in USD 1.4 million over the weekend, beating the previous record of USD 1 million set in 2001 by Kabhi Khushi Kabhi Gham, a similarly syrupy, low-brow, KJo effortWhich means Karan Johar is doing something right. Let me just tell audiences and critics alike - KANK may not be a Schindler's List but it's certainly no KA(LA)NK either.