Director - Kookie Gulati
Writer - Abbas Dalal and Hussain Dalal 
Cast - Riteish Deshmukh, Fardeen Khan, Priya Bapat, Krystle D'Souza, Pritviraj Sarnaik, Sheeba Chaddha, Seema Biswas, Ayaz Khan 
Platform – Jio Cinema 
 
Visfot, directed by Kookie Gulati and penned by Abbas and Hussain Dalal, attempts to blend high-stakes drama with the gritty realism of Mumbai’s contrasting worlds. Officially remade from the Venezuelan film Rock, Paper, Scissors (2012), this thriller aims to explode with tension but ends up fizzling out like a damp firecracker.
 
The film kicks off with an intriguing premise: the lives of a humble slum-dweller, Shoeb Khan (Fardeen Khan), and a high-flying airline pilot, Akash (Riteish Deshmukh), intertwining in a dramatic collision of fortunes. The story begins with Shoeb’s misplaced jacket containing illegal drugs and Akash’s domestic turmoil when he uncovers his wife Tara’s (Priya Bapat) infidelity. As their worlds crash into each other, the film promises a high-octane thriller involving the mafia, police, and personal vendettas.
 
The initial setup of Visfot is taut and engaging. The film effectively captures the anxiety of Shoeb’s precarious situation and Akash’s crumbling personal life. The contrast between the slum and high-rise lifestyles is vividly portrayed, adding depth to the story. However, as the narrative progresses, the film’s momentum begins to stall. The second half devolves into predictable plot twists and unneeded melodrama, significantly undermining the build-up from the first half.
 
One of the film’s most glaring flaws is its misjudged third act. Just when the story should have been reaching its peak, Visfot introduces an ill-timed song that derails the narrative's tension. This musical interlude not only disrupts the film’s pacing but also dilutes the intensity of the climax, leaving viewers with a sense of anticlimax.
 
Despite its narrative shortcomings, Visfot is buoyed by a strong cast. Fardeen Khan delivers a performance that grounds the film, portraying Shoeb’s desperation with nuance and depth. Riteish Deshmukh’s portrayal of Akash is equally commendable, capturing the pilot’s emotional turmoil and vulnerability. Priya Bapat’s role as Tara is marked by a convincing portrayal of marital strain, while Krystle D’Souza’s Lucky, though charming, is underutilized. Seema Biswas makes a memorable impression as Acid Tai, the menacing antagonist, and Sheeba Chadha provides a touching performance as Shoeb’s mother, injecting emotional depth into the film.
 
Visfot is a film with a lot of promise but struggles with inconsistent pacing and an uninspired climax. While it showcases strong performances and a gripping setup, it ultimately falls short due to its formulaic approach and poorly executed third act. The film could have been a standout thriller with a bit more polish and a tighter narrative. As it stands, it remains a decent but flawed attempt at high-stakes drama, offering enough to keep viewers entertained but not enough to leave a lasting impression.