Khalifa

energetic score, its reliance on formulaic 80s/90s mass tropes, lack of emotional core, and outdated writing prevent it from rising above an average watch. Cinematographer Jomon T. John lends the film a grand visual scale, while Jakes Bejoy’s score works overtime to inject excitement and sustain momentum even when the script falters. Prithviraj shoulders the film with sharp swagger, stylish presentation, and solid physicality in his action set pieces and boxing‑style combat sequences. Yet action thrillers hit hardest when the stakes feel personal, and Khalifa struggles to build emotional weight behind its conflicts, leaving many of the punches and shootouts hollow. Most action scenes feel standard, though a tightly executed nighttime home‑invasion fight sequence with security guards stands out as a genuine crowd‑pleaser. Unfortunately, late‑entry cameos feel like cynical box‑office bait, while the script leans on expired templates. The “reluctant heir turned mafia kingpin” trope offers zero surprises, unfolding like an automated checklist of slow‑motion entries, generic flashbacks, and convenient twists. Neil Nitin Mukesh’s villain role lacks bite, reduced to a rehashed corporate stereotype. Khalifa delivers decent technical flair, glossy production, and star‑powered cameos for hardcore action enthusiasts. But its uninspired script, repetitive mass clichés, and absence of true innovation keep it firmly in middle‑of‑the‑road territory—more spectacle than substance.