Even though it is the fourth in the series, there is practically nothing erotic about the film except Urvashi Rautela's dance at the club to a Himesh Reshammiya's 'Aashiq Banaya' remix. You suddenly notice her ample samples and thighs clad in leather are a throwback to old style Bollywood where heroines were well-fed and had child-bearing hips.
Alas, there's nothing motherly about this Taasha, who wants to dream of becoming a 'sitara' and I hope she got paid lots of money for mouthing dialog like, 'Mahabharata was fought between brothers because of one woman, I am that Draupadi between you two brothers!' and even before you gasp for air at her poor grasp of mythology, she says, 'Who did you think I was, Draupadi? There were five who shared her 'jism', you are two.'
But the stuff for legends is not this. The angry wife who catches the bearded, shaven chested man one - the husband Aryan (played by an eternally red-eyed Vivan Bathena who has to do little but snarl) en flagrante delicto, with has pricelessly funny dialog: Sheets can be changed, but not the 'mashooka' wrapped in the sheet.
You mop the spilled coffee off your shirt, and then she adds, 'I'm the twist in the plot!.' And she gets shot.
The second bearded brother Rajveer is a photographer and of course he cannot contain his manhood in his skinny pants. He falls smack in love with the statuesque Taasha and imagines the moans and lingerie and the kisses. You also have to suffer similar manly bare body and lingerie clad body of wife in a song sequence doing things that make Homer Simpson chug down beer look sexier in comparison.
There's a revenge story embedded in there somewhere, but it is covered in really bad dialog that defies translation: 'Tere warna se darna hota toh main beech mein nahi aata'
Then there's, 'I'm somebody that was nobody and know everything about my body...' or something just as intelligent. But who notices words when there's women's bodies to be shown in various states on undress (I lost count after he pushed the bra strap off her shoulder for the fifth time). And you fall off the seat when the end shows the women in pastel chickenkari embroidered salwaar kameez praying to a dead lad's picture when the revenge is complete. The movie is audacious in first objectifying the women, and ending the film by quoting statistics about violence against women.