Kis Kisko Pyaar Karoon can be watched if you enjoy Kapil Sharma's style of comedy. Special brownie points to director Abbas-Mustan and screenplay and dialogue writers (Anukalp Goswami, Dheeraj Sarna) for having created an extremely engaging narrative in the first half of the film, which is half the battle won for the film.
When you watch a Kapil Sharma film with a straight face, you know there's something wrong. Sadly, even the scenes that manage to make you smile here, feature supporting actors, who seem funnier than Kapil. But if you want to see the film solely for Kapil's brand of humour, you get babaji ka thullu.
A foolhardy premise to begin that only gets tedious with the onslaught of worn-out tropes, offensive philosophy, drab songs and escalating confusion. The Abbas-Mustan farce is in the same mental space as David Dhawan comedies except Kapil is nowhere in the same league as the sprightly Govinda or foxy Anil Kapoor. Indeed, the few jokes that do work in this illogical, tardy drivel have more to do with how idiotic they are then amusing.
To cut the long story short, if you're Kapil Sharma buff, then book yourself a seat in the nearest cinema hall. If you aren't and still keen on watching the film, do it at your own risk. But remember, it is not as ghastly as a few comedies you watched in the recent past.
Kis Kisko Pyaar Karoon is a lame and laboured comedy that might work only for those that have unshakeable faith in Sharma’s ability to raise a few chuckles on the odd occasion. This critic doesn’t. Logic isn’t the film’s strong suit. Even if one walks into Kis Kisko Pyaar Karoon with zero expectation, the film would still be hard pressed to measure up.
Much like his TV show, KKPK is generously splattered with misogynist wife jokes. KKPK establishes Kapil Sharma’s acting skills beyond doubt, but he couldn’t have made a worse choice. Watch the film only if you are a hopeless fan of the comedian. For us, even his talent was not enough to save the regressive and non-original film.
The plot is as 80’s regressive and outlandish as they come. The only reason not to run out of the theatre, screaming, is that Sharma displays a surprising flair for underplaying. He is clearly building on his TV comic persona, but manages to employ more than the standard smirk, which seems to be his only expression on his show, to make his point, and there are places he delivers his lines with smart timing. He nearly makes you believe that under all that yucky creepiness.