Salakaar Review: A Spy Saga That Fails to Explode Beyond the Surface

Salakaar

Streaming on : Jio Hotstar

Rating: 2/5 stars

Cast: Naveen Kasturia, Mouni Roy, Mukesh Rishi and more

Directed By: Faruk Kabir

Produced By: Comall Sunjoy Waddhwa and Sunjoy Waddhwa

Salakaar, the latest spy thriller helmed by Faruk Kabir, arrives on our screens with promises of high-stakes tension, time-travelling timelines, and AI-powered espionage. The five-episode series, inspired by real-life events, tells the story of Ajit Doval and attempts to blend past and present, instinct and intelligence, emotion and action. Unfortunately, it all stirs into something undercooked, rushed, and sadly forgettable.

At its core, Salakaar is about a covert Indian mission to stop Pakistan from launching nuclear warfare. The narrative unfolds in two timelines, 1978 and 2025, showing us how the same threat has evolved, but not quite disappeared. From the rustic grit of the '70s to the digital slickness of the future, the story follows Adhir, a young Indian spy played by Naveen Kasturia, and his team, including Mouni Roy as an AI-aided field agent, and Mukesh Rishi as the menacing Pakistani general Ziha.

Sounds gripping, right? Well, the trailer might have convinced you so. The show… not as much.

Then vs Now: The Timeline Tangle

Switching between two timelines is a risky game, and Salakaar doesn't quite master it. The 1978 segments have an earthy charm, a time when a spy only had instinct, coded notes, and pure guts to survive. That's where the story has real meat. The 2022 timeline, however, feels like a rushed future that banks heavily on gadgets like AI glasses, yes, really, that end up looking like a gimmick from a sci-fi app, not a spy saga.

The back-and-forth between eras does more harm than good. It becomes confusing in the beginning, breaking the momentum before it even builds. And though the show tries to draw parallels, same threat, same enemy, different tools, the execution is too bland to make you care.

Characters With Potential, Lost in Flat Writing

If there's one thing that holds Salakaar together, it's Naveen Kasturia. As Adhir, the spy who travels across borders and identities, he brings depth and softness to his role. His transformations are seamless, his expressions sincere, and his quiet determination anchors the show's emotional moments. He isn't flashy, but his performance works, raw, subtle, and effective.

Mouni Roy, though, is given more screen time than substance. Her character has a promising setup: a female agent operating in enemy land using futuristic AI. But the writing fails her. Her personal trauma is hinted at, not explored. Her bravery is showcased, not felt. And that AI glasses device? It feels like a brainchild of ChatGPT itself, fun on paper, silly on screen. She deserved more.

Mukesh Rishi, as the ruthless Ziha, gets a few intense moments, including a violent scene meant to shock, but the impact fizzles out. It's drama without purpose, cruelty without consequence. The rest of the cast does what it's told, but the characters remain one-dimensional.

A Thriller Without Thrills

Despite being marketed as an espionage drama, Salakaar lacks the pulse-racing moments we expect from the genre. Yes, there are disguises, chases, betrayals, and double agents, but they don't come together with enough tension or buildup. Every time the show sets something up, a past conflict, a power play, a moral dilemma, it backs away too soon. The series has only five episodes of around 35 minutes each. While that could have made it crisp and tight, it ends up feeling rushed. Ironically, Salakaar is one of those rare shows that should have been a film. It builds up to moments that are either predictable or unresolved. And the climax? It's not just underwhelming, it's forgettable.

There's an emotional confrontation, a hint of sacrifice, a neat conclusion. But none of it hits you in the gut. The threat is resolved too conveniently, the pain too polished, and the journey too smooth to feel real.

Direction and Execution: A Wasted Landscape

Faruk Kabir had a solid idea, merge a real spy's legacy with a fictional modern-day crisis, throw in AI, and explore loyalty across generations. But somewhere between ambition and execution, Salakaar lost its edge.

The show was shot on real locations, especially for the portions, which brings authenticity to those scenes. The vintage streets, dusty rooms, and coded corners feel more alive than the sterile, tech-heavy scenes. However, the show lacks visual identity; it doesn't give us standout frames or sequences that stay with us.

Also, the writing misses depth. Themes like patriotism, personal sacrifice, generational trauma, and moral ambiguity are skimmed over rather than explored. There's no gut-wrenching twist, no sharp dialogue, no grey zones that spy dramas thrive on. Everything is just fine, and that's not enough.

In the end, Salakaar is a series that had the ingredients, a strong cast, a good hook, and a politically charged premise. But the recipe falls flat. It doesn't evoke fear, urgency, or empathy. It's the kind of show you can watch, forget, and move on from.

It doesn't push the envelope like Special Ops or give the emotional punch of Raazi. It's safe, scattered, and just not strong enough to stand out in an already crowded genre.

If you're a hardcore spy-thriller buff, you might find a few sparks here. But for most, Salakaar won't offer anything beyond déjà vu and disappointment.