John Abraham's film is high on the concept and low in the performance

Is an Indian secret agent who is accused of being suspected of being badociated with an illegal arms dealer speaking in a car in Karachi? But when his cover is lifted and he is prosecuted for allegedly plotting to bomb the army chief of the neighboring country, he overtakes those who pursue him to seek refuge in the very house where he was arrested. Obviously, common sense is not very common in secret services.

John Abraham in and as Romeo Akbar Walter (yes, he badumes all three characters here) is a film high on the concept and weak in execution. Certainly, the actor known for his incessant expressions would be a spy whose work and life depend on his ability to appear emotionally constipated. But here, while he is making a real effort to internalize his part, the writing does not let him.

The film opens on a sinister scene. An alleged officer is being beaten to be submitted to an ISI detention cell. Blood dripping on his face, his interrogator approaches him, humming a familiar melody. He then takes a mechanical instrument to extract his nails from the root. Fortunately, a lapse of time brings us back to the events that led to this scene of morbid violence.

Romeo Ali (John Abraham) can be described as a cashier with a bank and a master of disguise – two disconnected abilities that somehow attract the attention of R & AW. Their leader, Shrikant Rai (Jackie Shroff), a tailor with huge glbades, believes that Ali is the only one able to infiltrate the POK to relay information. And so, Ali is taken through the ropes and finally, deployed as a staff member at a border hotel. It is here that he meets a notorious illegal arms dealer, known to maintain close ties with the Pakistani army chief. It's easy to imagine where this leads and the price of the position that a person is forced to pay. But what is not obvious is the slow pace of the film, a concern that comes second only to the incessant stereotypes that describe the neighboring country. Tapping rhythmic applause on the qawwallis and greeting each warm Janab that you transmit with "As-Salaam-Alaykum" can not be what Pakistan really is. In addition, the panoply of illegal weapons described in the film is surely run by bureaucrats. Why would there be so many written records – almost every second scene receives someone who pbades a file for approval or proofreading.

Director Robby Grewal hopes to make a cinematic ode to these altruistic warriors who do their utmost, knowing that their efforts will not be recognized. But the film is struggling to cope with its unrealistic ambitions. Director of photography Tapan Basu lends frames that take into account the tension required in certain scenes and even manages to moderate his attention and concentration.

Shroff stands out as the head of distribution. In the scene where his character watches the storm from his window, he transmits more than words can translate his state of mind. Abraham masters the box office formula with films that subscribe to an overtly patriotic sentiment such as Parmanu: The Story of Pokhran and Satyamev Jayate. As an actor, his effort is visible but not necessarily laudable. Mouni Roy who completes his role as a diplomat with an badortment of pout and empty looks, could not be more misinterpreted, while the formidable Colonel Khoudabaksh, of the army, Sikander Kher, would seemed more threatening on horseback between Punjab, Afghanistan and the other northern borders.