Madhoshi: Bipasha's delusion!

The poster rightly says 'Madhoshi, an illusion beyond imagination.'

Director Tanveer Khan had an illusion the film would be a hit, and it was Bipasha's imagination that the film would be a good exercise. (Speaking of which, Bipasha really needs some!)

Let Madhoshi be a lesson for future Bollywood actresses as well as directors -- who desperately need to reinvent the formula -- that a few provocative poses, some steamy romance shots and several naach-gaana numbers do not make a good Hindi film.

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But in all fairness, Madhoshi does highlight an issue, even though the story line was a mix of some Hollywood blockbusters like A Beautiful Mind and Face off.

The film opens with much-watched footage of the 9/11 terrorist attacks on New York's World Trade Center, which kills Anu (Basu)'s sister and brother-in-law. This causes Anu an irrevocable mental setback.

The first half drags, as it tries to establish Arpit (Priyanshu Chatterjee)'s character as an internationally acclaimed ad filmmaker, who gets engaged to Anu.

Meanwhile, Anu meets Aman (John Abraham), a member of an anti-terrorist organisation. Enamored by Aman's purpose in life, Anu falls in love with him. But Aman does not really exist in reality (another reason why 'Illusion beyond imagination' fits in).

Madhoshi highlights Anu's struggle against schizophrenia. Although the film should be credited for showing such serious issues, it does not handle it in a mature manner.

Bipasha Basu manages to pull off a good performance as a psychotic person. But she overacts in several scenes, and really needs to shed some more pounds.

John Abraham doesn't look as hot as his Kabir in Dhoom, but he seems to have polished his acting skills. Bipasha and John replicate their real life romance onscreen successfully but really, nothing beats the magic of Jism!

Priyanshu does not fall flat on his face with those tricky dance steps, and has matured as an actor.

Roop Kumar Rathore's music fails to captivate the audiences.

The recent entry of important issues like AIDS in Phir Milenge and schizophrenia in Madhoshi, arguably, marks a new trend in Hindi cinema. Though Revathy manages to blend a social message with entertainment in Phir Milenge, Tanvir Khan sadly loses such an opportunity in Madhoshi.

Instead, Madhoshi takes recourse in the tried and the tested Bollywood formula of imitating several Hollywood scripts in a desperate attempt to create something 'different.'

Yet, I would, very generously, give Madhoshi three stars -- after all, anything is possible in Bollywood!