Tehran

This story is based on a true-life incident involving an Indian police officer who goes to great lengths to avenge the death of a child. It delves into the complexities of global politics, showcasing how various state-level actors prioritize their own interests despite the odds stacked against them. While the story is undoubtedly inspiring, the screenplay could have been more well-crafted, making it predictable at times. However, the action sequences are visually appealing and believable, which adds to the overall viewing experience. If you're free in the evening after your work, I would recommend giving this movie a watch.

Tehran starts promisingly with a gripping first 30 minutes that effectively builds tension around the 2012 Israeli diplomat bombing case. John Abraham delivers his usual restrained performance, and the initial setup feels authentic with solid production values and realistic atmosphere.

However, the film quickly derails after the strong opening act. The second half-hour becomes increasingly convoluted with poor pacing and questionable plot developments that strain credibility. What begins as a promising geopolitical thriller deteriorates into typical Bollywood formula filmmaking.

The final act is where Tehran completely falls apart, abandoning any pretense of logic or coherent storytelling. The film resorts to tired Bollywood tropes, over-the-top action sequences that feel disconnected from the serious subject matter, and plot twists that make little sense within the established narrative framework.

While the Iranian actors bring authenticity to their roles and the technical aspects remain decent throughout, the script's inability to maintain its initial promise becomes increasingly frustrating. The film wastes its compelling real-world foundation with lazy writing and formulaic execution that undermines the sensitive subject matter.

Rating: 4/10 - A wasted opportunity that squanders a strong start with poor storytelling choices.

The film is a solid attempt at showcasing the complex world of inter-country intelligence and counter-terrorism operations at the foreign special operations level. It gives viewers a glimpse into the high-stakes environment where strategy, secrecy, and split-second decisions can alter the course of events.

As expected from a John Abraham movie, the story and script are anchored in realism, much like his remarkable performance in Madras Café, which set a very high benchmark. Naturally, that built anticipation for a film that could deliver cinema grounded deeply in real events and nuanced storytelling.

However, while the intent was strong, the execution fell slightly short. The action sequences lacked the rawness of real-life firefights; instead, they were often overshadowed by stylized heroism and cinematic dramatization. This took away some of the authenticity that a film rooted in real-world conflicts deserves.

In short, the movie works well as an engaging thriller, but for those expecting a gritty, true-to-life portrayal of covert operations, it leaves a bit to be desired.

Verdict: Worth watching for the subject and John Abraham's presence, but don't expect the same layered realism of Madras Café.

The movie has wonderful making even comparable to an Hollywood action flick. The actors did justice to their roles as well. But having the movie named Tahran and shooting the action scenes in an blantantly visible English speaking country ruins the authenticity of the movie. Should have been at least shot in an Arabic or Persian speaking region.

Iran wants to kill you. Israel has deserted you, and your very own country, India, has given up on you. John Abraham's latest offering, Tehran, has him playing one of the most complex and riveting characters in his several-decade-long filmography. Over the last few years, John has organically steered towards geopolitical stories and characters that aren't just another spy or part of a covert agency.

In 'Tehran', John's character, Rajeev Kumar, gets involved in a very complicated case when a bomb blast in Delhi targeting an Israeli diplomat kills an innocent flower-seller. The incident disturbs Rajeev Kumar to such an extent that he decides to put his life at stake to get to the bottom of the matter.

Set against the backdrop of the Iran-Israel conflict, the film examines how ordinary people become collateral damage in someone else's war. Unlike many thrillers in the genre, 'Tehran' doesn't exploit the premise; instead, it sensitively shows every possible facet of the price one has to pay to wage a war.

The screenplay by Bindni Karia, co-written with Ritesh Shah and Ashish Prakash Verma, is the film's strongest asset. Dialogues peppered with Farsi lend authenticity, while director Arun Gopalan draws solid performances from his cast. Neeru Bajwa and Manushi Chhillar make their mark in supporting roles. But, 'Tehran' works because of the conviction that John puts into his role. One of his finest performances till date, the film is a testament that, with a good script and a visionary director, all an actor needs to do is just surrender and keep faith.

A standout is Hadi Khajanpour as antagonist Asraf Khan, who is an absolutely brilliant find. He is not just menacing for the sake of it, but also a sharply etched, powerful character.

The way the film has been shot visually is also impressive. From the dusty lanes of Delhi to Abu Dhabi, the camerawork is brilliant. The action sequences feel very organic and real, with combat scenes that are gritty and extremely tense.

Tehran is a masterclass on how to deliver Deshbhakti without lehraa-oing Tiranga or chanting Jai Hind on the Independence Day! It celebrates the unsung heroes, who are mostly abandoned by their countries for being on missions that are either off-paper or not approved at all!

Whenever John Abraham is an alone man on a mission, he comes out with a brilliant result-be it Madras Cafe or Tehran. With its intelligent script, the film becomes an absolute must-watch for anyone who appreciates quality storytelling and has the patience to research on international relationships and politics before diving into the film.