Almost everyone has a double role in this film! There are two Bobby Deols. Two Paresh Rawals. Two Om Puris. And six avtaars of Shekhar Sumans...

Ditto for David Dhawan, who holds dual responsibilities - editor and director. But his latest venture CHOR MACHAAYE SHOR gives you the feeling that the accomplished editor-director has not done justice to both the roles.

Inspired by the English flick BLUE STREAK (1999; starring Martin Lawrence, Luke Wilson), the problem with CHOR MACHAAYE SHOR is that there's really nothing novel here. Actually, it continually gives viewers a feeling of 'been there, done that.'

A thief on the run hides a 30 crore diamond in an under construction building. He is arrested by the cops soon after. Two years later, he is freed from the jail and in anticipation of the diamond goes back to that site, only to find it becoming the Police Headquarters. So what happens next?

Bobby Deol plays a bumbling thief Sham, who becomes Police Inspector Ram in search of the 30 crore booty.

Like every David Dhawan caper, CHOR MACHAAYE SHOR is devoid of logic. Although the basic premise is interesting, the story telling leaves a lot to be desired. On the script level, there are several blemishes that could've been easily avoided.

Instances:

[i] Soon after Bobby is released from the jail and he lands up at the Police Headquarters, he does precious little to trace the diamond. Instead, he starts romancing the heroines.

[ii] Om Puri's suspicious nature and the lengths he goes to track Bobby's true identity takes the film to an altogether different track.

[iii] In the pre-climax, the kidnapping of Paresh Rawal by the villains (Ashish Vidyarthi, Rajat Bedi) and planting his look-alike is least exciting.

[iv] Prior to that, the attempt by Bobby and Shekhar to harass Paresh by conning him to believe that he has a look-alike is absurd.

Instances such as those mentioned above prove that it's a screenplay of convenience. Or, perhaps, the writers felt that anything goes in the name of 'David Dhawan brand of comedy'.

Even the placement of a majority of songs is faulty. Actually, the songs flit in without valid situations whatsoever. Even the climax - Bobby blasting his vehicle using a remote control - seems like juvenile stuff.

On the flip side, CHOR MACHAAYE SHOR does have a couple of enjoyable moments. The car chase in the first half (Ashish Vidyarthi and Rajat Bedi chasing Bobby Deol, as he is driving Shilpa and Paresh Rawal to the club) is hilarious. Also, Shekhar Suman's mother track will be loved by the front-benchers. It does evoke mirth!

The stunts (Abbas Ali Moghul) are exhilarating. The car chases, gun fights and basic brawling inject a fair amount of action. Cinematography (Harmeet Singh) is wonderful.

Directorially, David Dhawan is not in his element this time. And that's mainly because he is letdown by an uninspiring script. Even otherwise, the gags and punches are run of the mill, routine stuff.

Anu Malik's music is a sore point. And the impact is lost mainly because the placement of songs is improper. Yet, 'Chad Gayi' and 'Main Ishqn Ishqn Ho Gayi' stand out due to excellent picturisations.

Bobby Deol gives his all to this role and seems comfortable in light scenes. Shekhar Suman gets into several get-ups, but he entertains most as Bobby's mother. Shilpa Shetty gets no scope to perform but dances exceptionally well. Bipasha Basu is wasted.

Paresh Rawal is just about okay. Om Puri is competent. Ashish Vidyarthi and Rajat Bedi lend passable support. Rajpal Yadav impresses.

On the whole, CHOR MACHAAYE SHOR stands on a weak foundation - its script. Despite impressive names on and off screen, the film has precious little to impress an avid cinegoer.