director alankrita srivastavacastgul panag purab kohli siddharth makkarthis calculated chick flick starts with a spinster who is on the verge of turning 30 by interval she turns 30 and by the end she turns 31 as the viewer figuratively feels to have spent two tedious years watching this slow and stretched film where practically nothing happens throughout under the guise of bridget jones diary turning 30 actually happens to be female version of devdas thats because the film starts with breakup between a couple and through the film the girl is unable to get over it naina gul panag is unable to move on from her spiltup with rishabh siddharth makkar and though exflame jai purab kohli coincidentally lands in her life around the same time she is unable to make up her mind on who is she in love with till the end however the audiences can certainly make up their mind much in advance that the narrative is going nowhere while initially one can relate to the heartbroken nainas yearning to win back rishabh subsequently her fixation is stretched to such an extent that you stop sympathizing with the crybaby not only is writerdirector alankrita srivastavas storytelling absolutely predictable from the word go the screenplay becomes so repetitive after a point that you start finding the film repulsive while one doesnt expect a pioneering plot from a conventional chickflick you also dont expect it to be lethargic and boring naina is as much luckless on the professional front as in her personal life her supposed creative adcampaigns are constantly taken over midways by her allmale superiors the chauvinism seems contrived nainas persistent philosophical monologues keep playing in the background and when she is disillusioned with almost everything by the climax the screenplay restores her individuality with the most clichd option her verbose philosophies find favour with a publisher with much screentime wasted on nothingness every conflict is sorted in the last ten minutes naina has her book published she wins a legal battle with her superiors an abruptly guiltridden rishabh out of nowhere comes back to her of course no prizes for guessing who does naina opt for as her lifepartner manmade women power kakya kehnawhile it uses all chickflick components like sagging breasts padded bras grey hair and hen party turning 30 essentially ends up only being a sobstory of a female who cant recover from a breakup the intentional inclusion of the lesbians and gays in the narrative and use of bookish english in the dialogues adds to the pretentiousness of the film while gul panag puts an uninhibited act and emotes effectively her onedimensional characterization lets her down jevena talwar is fine but tilottama shome monsoon wedding is somewhat sidelined both male leads purab kohli and siddharth makkar get limited scope turning 30 is more of a monotonous look on midlifecrisis than a comingofage cinemaverdict average