Tehran

execution lacks consistency. The film begins with gripping urgency — a bombing, a child’s tragic death, and a mission that escalates into an international crisis. Yet, the narrative soon becomes cluttered, weighed down by excessive political subtext, a sprawling cast of characters, and dialogue-heavy sequences that slow the momentum. Its commentary on the Israeli-Palestinian conflict and India’s diplomatic positioning feels restrained, often skimming the surface rather than diving into meaningful exploration. Despite a compelling premise, Tehran opts for familiar genre tropes instead of taking bold creative risks. Visually, the cinematography by Ievgen Gubrebko and Andre Menezes lends authenticity to Tehran’s gritty urban backdrop. The action choreography is competent and grounded, though it doesn’t leave a lasting impression. Ketan Sodha’s background score sustains tension effectively. Editing proves to be a weak link, especially in the latter half, where the plot becomes increasingly tangled. It’s evident that several scenes may have been trimmed for the OTT release — personal story threads introduced early on are left unresolved, creating a sense of narrative incompleteness. Tehran aspires to realism and relevance in the espionage genre but falters in delivering a cohesive and emotionally resonant experience. It offers glimpses into the world of covert diplomacy and intelligence, yet its dense structure and cautious storytelling dilute the overall impact. Recommended only for die-hard fans of geopolitical thrillers or those drawn to John Abraham’s stoic screen presence — just be prepared for a film that promises more than it delivers.