Sarzameen

Sarzameen is a half decent Kashmir-set thriller that never quite reaches its potential. The film follows an Army officer torn between duty and family, creating conflict when his military principles damage his relationship with his son.

There are clear echoes of Shakti (1982) in the father-son conflict, but where that film had two powerhouse actors creating electric tension, here the mismatch between Prithviraj's commanding presence and Ibrahim's limited range makes the central conflict feel uneven.

Prithviraj Sukumaran delivers a strong performance as the patriotic father, bringing necessary gravitas to anchor the film. Ibrahim Ali Khan shows improvement from Nadaaniyan but remains dramatically lightweight. Kajol is wasted in an underwritten role that doesn't utilise her talents properly.

Kayoze Irani's directorial debut handles the Kashmir conflict with reasonable sensitivity, though the execution feels safe rather than bold.

The script could easily have been trimmed by 30 min, or chopped at the editing table, and that is the film's biggest bane. The pacing drags considerably in places, emotional beats often feel contrived, and the film plays things too safely when it should take risks.

It's watchable but frustratingly ordinary given its strong premise.

Rating: 6.5/10 (Good performances can't quite elevate predictable material that wastes its dramatic potential)

I watched the movie Sarzameen. In my opinion, it's a decent movie to watch. The storyline and scenes are quite predictable. The second half brings some excitement, but by the end, it feels like a movie that's good to watch-nothing extraordinary. The lead actor's performance is good. Overall, I would rate it around 5.5 out of 10.

Sarzameen (2025) ; Movie Review -

Kayoze Irani's Sarzameen is one of those films that sets up an ambitious emotional and patriotic premise, only to falter under the weight of its own overcomplications. While the trailer of the film may seem like it's given away the whole plot, rest assured - that's only a carefully laid-out misdirection. The real twist comes in the final quarter, flipping the story on its head. Sadly, that twist, as shocking as it is, arrives too late to rescue what is otherwise a dull, messy, and outdated narrative.

The story follows army officer Vijay Menon (Prithviraj Sukumaran), a man so loyal to his country that he chooses it over his own flesh and blood. He captures two deadly terrorists and soon receives a threat from the ISI, warning him that his son will be harmed if he doesn't cooperate. Faced with the ultimate dilemma, Vijay chooses duty. His son, Harman, is believed to be dead. Years pass, and out of nowhere, Harman (played by Ibrahim Ali Khan) returns. But Vijay has doubts. Is this really his son, or is it a ploy by the terrorists to breach his home and break his spirit?

It's a strong setup - one that could have offered rich emotional depth and edge-of-the-seat tension. But Sarzameen shoots itself in the foot with its convoluted writing and soap-opera style execution. The film tries so hard to be emotionally layered that it ends up feeling overly melodramatic and illogical at key moments. One of the biggest issues lies in the character choices and screenplay logic. Vijay, portrayed as a highly intelligent and decorated officer, brings Harman into his house without any real verification or caution. He later starts interrogating him over dinner, which is baffling considering the gravity of the threat. His lack of emotional intelligence and situational awareness reduces the credibility of his character and by extension, of the entire story. Harman's return and transformation into a possibly manipulated or brainwashed young man also lacks proper grounding. The portrayal of his emotional state - especially his grudge against his father for choosing the nation over him - feels immature and kiddish. A child might not understand such a sacrifice, but a grown man, aware of his father's duty, seeking revenge for it? That just doesn't land convincingly.

The emotional conflict could have worked if it was rooted in nuance and sensitivity. Instead, Sarzameen turns it into a loud, overdramatized shouting match. The film is stretched to 2 hours and 17 minutes with a pace so sluggish, it feels like a television soap stretched into a feature film. There are entire segments that could have been trimmed or rewritten to maintain focus. But the film seems too invested in surface-level emotions rather than letting its characters breathe or develop naturally.

Prithviraj Sukumaran, a powerhouse performer with acclaimed films like Classmates, Mumbai Police, Memories, and Ayyappanum Koshiyum, is largely wasted here. His performance feels forced, with visible loud expressions and dramatic pauses that the editing fails to cover up. There's little subtlety in how his character is handled - a sharp contrast to his past nuanced performances. Kajol, playing Mehar, does a decent job but is held back by repetitive lines and old-school emotional expressions. Her character lacks depth and falls into the trap of being the sobbing, helpless mother stuck between her husband and son. Ibrahim Ali Khan, in only his second film, delivers a better performance compared to his debut - which most would rather forget. He has a few solid emotional scenes and some action sequences that allow him to showcase potential. Jitendra Joshi, despite having minimal screen time, brings intensity and weight to his character. Mihir Ahuja is decent, Boman Irani is passable, and others like Abdul Quadir Amin and Rohed Khan are serviceable in their roles.

On the technical front, Sarzameen does offer some positives. The cinematography captures Kashmir's stunning landscapes with finesse, and a few close-up shots are particularly well-framed. The production design also reflects authenticity. However, these merits are quickly undermined by a lethargic frame rate and poor editing that makes the film feel slower than it already is. The tension never builds up to where it should be - a cardinal sin for a thriller. The music, composed in line with the film's serious tone, supports the story thematically but lacks any replay value. There are no memorable tracks, and the background score doesn't do enough to enhance key moments. Instead, it sometimes drags the narrative further, making already dull scenes feel longer. The lyrics in some songs are better written, but unfortunately, they get lost in the film's slow momentum.

The biggest disappointment, however, is in the film's overall treatment. The subject - about a soldier's conflict between nation and family, and a son returning from darkness - demanded an intense, sharp, and emotionally intelligent approach. A director like Neeraj Pandey (A Wednesday, Special 26, Baby) could have turned this into a nail-biting thriller. Kayoze Irani, on the other hand, seems more comfortable with theatrical melodrama than layered storytelling. The film ends up resembling a long-drawn serial rather than a taut cinematic experience. Yes, the final quarter of the film brings some excitement. The twist is unpredictable and adds a much-needed jolt. But by then, the damage is already done. The audience is too disconnected to care deeply about what happens. Overall, Sarzameen is a film with solid intentions and a genuinely promising storyline, but it loses direction with outdated storytelling and sluggish execution.

RATING - 4/10*

Review: Sarzameen 1.5/5

Sarzameen is a cinematic autopsy of what happens when a powerful premise is murdered by weak writing, hollow emotion, and a complete disconnect from truth. It doesn't move you, it doesn't disturb you-it just leaves you cold and disappointed.

A story that had the potential to explore identity, pain, and the deep scars of conflict instead becomes a confused mess of half-baked dialogue, implausible decisions, and characters who feel more like cardboard than flesh. Even Kajol, with her immense depth, is utterly wasted here. The emotional stakes are spoken of, but never felt. The performances float without weight, and the narrative-built on a critical revelation-falls apart under the simplest scrutiny.

When a supposed twist rests on a DNA test in a region soaked in surveillance and tension, you expect precision. Instead, we get melodrama over meaning. The script treats its audience as passive observers, never inviting them to engage, only to endure.

Cinema like this does more harm than good-because it pretends to speak truth, but it whispers fiction dressed as depth.

A missed opportunity. A wasted canvas. A story that deserved so much more.

This film presents a frustrating paradox. On one hand, it is a visual masterpiece, featuring absolutely beautiful and well-composed frame shots that could easily be mistaken for good storyline. The cinematography is, without a doubt, the high point of the entire production.

However, a film cannot survive on visuals alone. The sole spark of life in the narrative comes from Kajol. She is the only believable part of a story that otherwise feels completely empty.

2 Stars extra for Kajol

It's a real shame, then, that the rest of the movie falls apart because it has nothing to say. The plot is empty and feels forced, with other characters so poorly written you barely notice them. To have such a great main actress and such amazing visuals wasted on a story this dull is not just disappointing, it's very annoying. You are left with no feelings for the story, just the clear, irritating feeling that you watched two hours of a wasted chance. See it for Kajol if you have to, but don't say I didn't warn you.