“Do Patti,” released on October 25, 2024, on Netflix, directed by Shashanka Chaturvedi and written by Kanika Dhillon, arrived with the sheen of a high-profile OTT venture. Starring Kriti Sanon in a double role as twin sisters Saumya and Shailee, alongside Kajol as a determined cop and Shaheer Sheikh as a volatile love interest, this Hindi-language drama-thriller promised a gripping tale of sibling rivalry and domestic abuse. Co-produced by Dhillon and Sanon under Kathha Pictures and Blue Butterfly Films, it boasted a big-name cast and a topical message.

Set in the fictional hill town of Devipur, Uttarakhand, the plot follows Saumya, a timid soul under her caretaker’s wing (Tanvi Azmi), and her estranged twin Shailee, a brash rebel back from abroad. Both fall for Dhruv Sood (Sheikh), a charming yet abusive adventure sports operator with a powerful politico father. When Dhruv’s violence escalates—culminating in a paragliding “accident” Saumya deems attempted murder—Inspector Vidya Jyothi (Kajol) steps in, unraveling a web of lies and childhood grudges. The setup teases a juicy thriller, but “Do Patti” collapses under its own weight, delivering a convoluted mess that’s neither suspenseful nor poignant.

Kriti Sanon’s dual turn is the film’s sole flicker of merit. She gamely differentiates the sisters—Saumya’s quiet fragility versus Shailee’s reckless swagger—but it’s a surface-level effort, hampered by a script that doesn’t dig into their psyche. Kajol, as the feisty Vidya, starts strong with her no-nonsense vibe, but her role devolves into a caricature, complete with a fake accent and a bunny sidekick that adds nothing. Shaheer Sheikh’s Bollywood debut as Dhruv is loud and hammy—his abusive outbursts feel like a cartoon villain’s, undermining any real menace. Tanvi Azmi and Brijendra Kala offer fleeting support, but they’re props in a story too busy tripping over itself to use them well.

The direction is a disaster. Chaturvedi, helming Dhillon’s pulpy script, can’t decide if this is a noirish thriller or a preachy soap opera. The first half plods through cliched twin tropes—good girl versus bad girl—while the second drowns in absurd twists, like a courtroom finale that defies all legal logic. Mart Ratassepp’s cinematography lends a moody sheen to Devipur’s hills, and Sachet-Parampara’s songs (“Raanjhan,” “Akhiyaan De Kol”) are passable, but Anurag Saikia’s overcooked score amplifies the melodrama to eye-rolling levels. At 126 minutes, it’s bloated yet hollow, wasting time on red herrings that lead nowhere.

The film’s biggest sin is its squandered potential. Domestic violence and sisterly rivalry could’ve fueled a raw, resonant tale, but Dhillon’s writing—once sharp in “Haseen Dillruba”—opts for cheap shocks over substance. The big reveal about the twins’ past is laughably petty, and the message about abuse feels tacked on, a shallow echo of better films like “Darlings” or “Thappad.” Critics agreed: The New Indian Express called it a “K-serial of a thriller,” while Scroll.in lamented its “flat and uninvolving” slog. Posts on X dubbed it “predictable” and “a waste of Kajol,” reflecting a consensus of disappointment.

“Do Patti” isn’t unwatchable—it’s got moments of unintentional camp and Sanon’s earnest try—but it’s a sloppy, forgettable misfire. For all its streaming stats, it’s a reminder that hype and star power can’t mask a lack of vision. It’s less a thriller than a tedious shuffle of cards that never plays out.

Rating: 2/5

A limp, overcooked dud—deal yourself out unless you’re desperate for background noise.