Actor-turned-filmmaker Deepak Tijori has directed films like Oops!, Fareb and Tom Dick And Harry but none of them has impressed the audience or the critics. Sadly, his latest venture, Do Lafzon Ki Kahani -- a love story starring Randeep Hooda and Kajal Aggarwal -- will join the bandwagon. Storywise, the film has nothing new to offer in the romantic genre. It seems as if the director is stuck in the 1990s and has incorporated every cliched Bollywood element in his film.

Sooraj ( Hooda) is a beat-up, washed-up martial arts expert. Jenny ( Aggarwal) is a winsome, sightless girl. And 'Do Lafzon Ki Kahani' is this week's other Korean remake, which has also been remade in Kannada. The only point of interest is that it is set in Kuala Lumpur, a city Bollywood doesn't much get around to. The plot is a string of drippy sequences. Aggarwal sports a fixed stare-and-smile and the kind of lilting voice meant to be cutesy but is mostly annoying.

From battling it out on battlefield to sacrificing true love, Bollywood has left behind a legacy of love stories that inspire and touch you. Promising to be yet another romantic saga, DO LAFZON KI KAHANI is said to be a tale of a man who is head over heels in love with a blind woman and would go to any lengths to keep her happy.

Usually, it is considered that remakes are easier to make than original films as the raw material is already available and one just has to make it palatable to the target audience with minimum efforts. However, the aforesaid theory has often been proved wrong for many filmmakers and Do Lafzon Ki Kahani, which is the remake of a Korean film titled Always, firmly falls in this category.

Bollywood seems to be enamoured by Korean films of late. Do Lafzon Ki Kahani is a Hindi remake of a Korean film too. Incidentally, the protagonist here bears an uncanny resemblance to a hooded John Abraham's mysterious character in Rocky Handsome, which was also a Korean remake. Unfortunately, this film is as lacklustre as the John starrer.

Did you see that pre-interval twist coming?, asked a friend and colleague during the interval? From a mile away, I replied. If you have seen enough formulaic romantic dramas you can play soothsayer rather easily. As the second half of director Deepak Tijori's film resumed, it became a game of prediction for some: what twist was coming next?

The film revolves around Suraj (Radeep Hooda), a former mixed martial arts player with a dark past. After leaving the sport, he is doing odd jobs to earn money for settling some old debts. The brooding young man soon meets Jenny Mathias (Kajal Aggarwal) in a chance meeting and the two seem to hit it off quite well. Jenny is visually impaired but extremely chirpy and takes life head on.

If the plot of Do Lafzon Ki Kahani had anything new about it, I would have given an extra star for that effort at least. However, DLKK is so similar to Deepika Padukone and Neil Nitin Mukesh's Lafangey Parindey, that I am left wondering whether Bollywood directors even check out what their colleagues are doing. Anyways here is the plot of the film, which for some unknown reason is set in Malaysia...

After his stunning, heart-wrenching performance in Sarbjit, Randeep Hooda is back onscreen with Do Lafzon ki Kahani, a mushy romantic film that echos the fairytale idea of love. Taking us back to the 90s when dialogues like "Haath mila rahi hu, maang nahi rahi" seemed cute, Do Lafzon Ki Kahaani is a tale of 'eternal love', one that makes you sacrifice all and suffer forever for the sake of your beloved.

A plodding, cliche-ridden melodrama in which misfortune after spirit-crushing misfortune is heaped upon the two protagonists, Do Lafzon Ki Kahani is not quite the breeze that the title might suggest. Making its point with the means of just two words is simply beyond this film. It takes an eternity plus a few hours to reach its climax, by which time you just want the tortuous tearjerker to be banished from your sight. The stated runtime of Do Lafzon Ki Kahani is 127 minutes - a little over two hours - but it feels four hours long, if not more, so enervating and exasperating are its dramatic coincidences.