Some movies seem fine in paper but then it loses the essence when transformed to the silver screen. Rush is one such movie, which from the beginning loses gripover the story and falls all over the place. Late Shamin Desai's end product seems to be terribly compromised and cut short of creativity.

Rush, the story of an ambitious news reporter Samar Grover (Emraan Hashmi) caught up in a web of deceit of crime and politics ends up a targeted man. His rocky relationship with his artist girlfriend (Sagarika Ghatge) often comes in the way of his aspirations. The acting has not fared much either, with Hashmi, one fine actor losing his hold over the role. Not one actor bites fully into their role, Hashmi mostly mechanical, the ladies lovely but blank. You fully empathise when Sam, shooting for a breakfast cereal ad, is pleadingly told by the director, "Sir, please, more feeling ke saath!" In the second half, Hashmi does wade into the deeper end, exposing a criminal-media nexus - but after too much waffling with cliches, it's too little, too late.

Still, while not the relentless thriller it could've been, Rush offers some slick seconds - the tie-tweaking Sam's face evolving from reporting news to becoming it, Gurgaon's glitz, Pahargunge's grunge, Dhupia's luscious trenches and form-fitted skirts. But despite all that, Rush lacks zip - plus, Hashmi doesn't kiss.

Not only is the film shot tackily but courtesy the time span that it took to complete there are far too many continuity flaws, especially in the look of Emraan Hashmi that can clearly be noticed and end up annoying the viewer's eye. The dialogues in the film are funny and so is the case of pronunciation of actors like Neha Dhupia and Aditya Panscholi.

Rush has all the elements to not let you sleep. It has an unnecessary thumping background score and over-the-top dialogue. So if you decide to go for this film, do yourself a favour and carry along a crocin strip.That might just help.