Love Story 2050: Part-predictable, part-gobbledygook

PREPOSTEROUS TALE: Love Story 2050 will be used as a benchmark to compare other bad movies for years.

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Keywords: Harry Baweja, Harman Baweja

Cast: Harman Baweja, Priyanka Chopra, Boman Irani

Director: Harry Baweja

There is no easy way to put this so I'm just going to come out and say it — Love Story 2050 is a film so preposterous, it makes you want to round up the people associated with it and flog them publicly till they apologise for wasting your time and for burning up good money making this trash.

The movie kicks off in present day Adeleide where Karan (Harman Baweja) falls head over heels in love with Sanaa (Priyanka Chopra) the moment he sees her chasing butterflies in a park. An hour of childish wooing and many songs later she returns the sentiment, but is killed by a speeding truck when she's crossing the road with an ice cream. Such a scream!

Unable to put up with his whining, Karan's maama, mad scientist Uncle Ya (Boman Irani) cranks up his time machine and takes off with Karan for a trip into the future. For some strange reason that I can't be bothered to explain, they're convinced Sanaa is alive and well in Mumbai 2050.

Once there in the land of flying cars, virtual maids and robot sidekicks, Karan tracks down Zeisha, an international pop star, who's a dead ringer for his dead girlfriend. Showing up everywhere she's scheduled to be — from her mid-air pop concert and a meet-and-greet fan event to her ridiculous Xbox gaming session — Karan stalks Zeisha like an obsessed teenager and doesn't give up till he convinces her she's his sweetheart from another time zone, and takes her back to present day.

Somewhere in the middle of all this, there's also a Darth Vader-like villain (complete with black cape, silly mask and heavy breathing voice) who's got his eyes on the mad scientist's time machine, and won't give up till he's chased our protagonists through this special effects-heavy futuristic city.

Sitting in the cinema watching Love Story 2050, you realise you're watching something historic — a film that for years to come will be the punch line of jokes about bad movies. A film people will use as a benchmark to compare other bad movies. After all, it's that rare breed of film that gets almost nothing right — starting from a script that's part-predictable-part-gobbledygook, direction that is surprisingly conspicuous by its absence, and acting that is so amateurish you want to admit them all into Kishore Namit Kapoor classes.