Dibakar Banerjee is going to have to make two good movies to compensate for whatever hellish assault on the senses Love Sex Aur Dhokha 2 was.
We discuss the film’s muddled social commentary, the frustration oozing out of every frame, and the general incoherence of the arguments.
We also compare LSD2’s aesthetic and thematic shortfalls, especially when compared to Banerjee’s past work, while wondering why he couldn’t find room for any self-reflection.
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