Vaashi has a good storyline, and the director made a wise decision to avoid gender politics and prejudices by having the hero play the victim and the heroine play the accused. However, he was unable to flesh out this "good storyline" with a good script; there are some well-written moments but they are watered down with holes in the logic of drama. The movie's first half is neat, the light-heavy action.
There is a clear good and bad difference for the case the director unpacks through leads; better writing could've made the movie, especially the second half, more sound. Vaashi reminds us that not all great ideas are transferred exactly on screen. This is where the movie loses its momentum. It has a dialogue that everything/everyone is grey, but it doesn't make that point visually on screen.
There is a clear good and bad difference for the case the director unpacks through leads; better writing could've made the movie, especially the second half, more sound. Vaashi reminds us that not all great ideas are transferred exactly on screen. This is where the movie loses its momentum. It has a dialogue that everything/everyone is grey, but it doesn't make that point visually on screen.
There is a clear good and bad difference for the case the director unpacks through leads; better writing could've made the movie, especially the second half, more sound. Vaashi reminds us that not all great ideas are transferred exactly on screen. This is where the movie loses its momentum. It has a dialogue that everything/everyone is grey, but it doesn't make that point visually on screen.
There is a clear good and bad difference for the case the director unpacks through leads; better writing could've made the movie, especially the second half, more sound. Vaashi reminds us that not all great ideas are transferred exactly on screen. This is where the movie loses its momentum. It has a dialogue that everything/everyone is grey, but it doesn't make that point visually on screen.
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