The Diplomat

This film stands out as a fast-paced thriller that takes a nuanced approach to storytelling, avoiding over-the-top action sequences and instead delivering a more realistic cinematic experience. Unlike conventional action films that rely heavily on explosions and high-adrenaline chases throughout, this movie carefully builds tension, keeping viewers engaged with its gripping narrative, well-developed characters, and immersive atmosphere. While the action is reserved until the climax, the film does not feel lacking in intensity. Instead, it masterfully crafts a sense of anticipation, making the final moments all the more impactful.

One of the film's biggest strengths is its grounded approach. The direction focuses on realism, avoiding exaggerated stunts or implausible scenarios that are often seen in mainstream action films. The cinematography plays a significant role in achieving this effect, using tight shots, natural lighting, and carefully choreographed sequences that make the audience feel like they are witnessing events unfold in real time. This approach creates an immersive experience that keeps the audience engaged, even in moments where there is no immediate action.

John, the lead actor, delivers a powerful performance that elevates the film's impact. His portrayal is intense yet restrained, making his character feel authentic and relatable. He does not rely on dramatic gestures or overacting to make an impression. Instead, he uses subtle expressions, body language, and well-timed dialogue delivery to bring depth to his role. His performance ensures that the audience remains invested in his character's journey, feeling every moment of his struggle, determination, and emotions.

Equally impressive is the female lead, whose performance adds another layer of depth to the film. Her character is not merely a supporting role but an integral part of the story, driving the narrative forward in significant ways. The chemistry between her and John is palpable, and their dynamic adds emotional weight to the story. She plays her role with conviction, making her presence felt in every scene she appears in. Her expressions, dialogue, and emotional depth make her performance truly commendable.

What makes this film particularly compelling is its ability to hold the audience's attention without relying on excessive action or unnecessary dramatization. The screenplay is tightly written, ensuring that every scene serves a purpose. There are no unnecessary subplots or filler moments; instead, the film remains focused, maintaining a steady pace that keeps viewers engaged. The dialogues are crisp and meaningful, contributing to the overall realism of the film.

While action is an essential component of the movie, it is not its sole driving force. The film carefully balances action with storytelling, allowing the audience to connect with the characters before immersing them in high-stakes moments. The final act delivers an intense and well-executed climax, rewarding viewers for their patience and investment in the story. The action sequences in this part of the film are executed with precision, staying true to the movie's realistic approach. There are no exaggerated fight sequences or improbable escapes; instead, the action is raw, gripping, and impactful.

This film is a testament to the power of well-crafted storytelling and strong performances. It does not rely on spectacle alone but instead draws the audience in with its authenticity and emotional depth. Every element, from the cinematography to the background score, contributes to creating a compelling viewing experience.

To fully appreciate the nuances and immersive quality of this film, watching it in a movie hall is highly recommended. The big screen experience enhances the realism, making the tension, emotions, and action sequences even more impactful. The sound design, background score, and visual storytelling come together to create an engaging cinematic experience that is best enjoyed in a theater.

Overall, this movie is a must-watch for those who appreciate intelligent filmmaking that values realism over gimmicks. It is a refreshing departure from typical action films, offering a gripping story, strong performances, and a well-executed climax that leaves a lasting impression.

This movie 'The Diplomat' is based on a real and true story occured in 2017 where an Indian girl is lured for the marriage with a Pakistani man from KPKH, Pakistan.

Since its based on real story, the real story is already available on the Internet. As far as the Direction and actings are concerned, actor have performed well and direction is superb with respect to shooting locations and screen play.

John Abraham looks good as an Indian diplomat and Sadia is a very talented and promising actress. Although we know how the story goes in the end but the movie has dramatized certain parts which includes the plots by ISI and Locals of KPKH.

SO, If you like geopolitics and do watch this movie :)

Got a chance to watch "Diplomat" the movie? Go watch it. The best 2 hours and 10 minutes spent on a movie.

This movie could not have come at a better time. But then, it was released BEFORE the Pahalgam attack. So, no intentional play on emotions here. There would have been an outpouring of raw sentiments if it so happened that the movie was released AFTER 22/05/2025.

First of all, it makes a tremendous impact on you if you are a true Indian. It makes your heart swell with pride, it makes you cry, it makes your blood boil at times, and most of all it gives you hope and trust in the system.

How an entire country stands behind the injustice caused to one woman makes one's patriotism soar. More so, because this is based on a true story!

This is a no nonsense movie, totally of a new genre. So much violence and sexual assault is shown with so little dependence on graphic scenes. The victim speaks eloquently just with her eyes and expressions. Very dignified indeed! The actors and actresses become real. Like someone you know, like someone you want to hug and protect, like someone you want to pat on the back and say how proud you are of them. Like someone you can look up to.

Superb acting by John Abraham as JP Singh, Sadia Khateeb as Uzma Ahmed, and Jagjeet Sandhu as Tahir. Tahir sent shivers down my spine every time he appeared. He fit the role so completely.

Kudos to the team! Well done.

One cannot question anybody's performance in the movie. Everybody does a great job. It's a tailor made role for John Abraham. Man kills it with such ease and style. He is complimented well with the antagonist who's equally talented and his performance successfully depcits the menacing nature of his character. The female lead is a hit and miss though. The supporting cast was well chosen.

Few witty one liners does hit the right spot. They are carefully sprinkled all over the movie. The dialogues are smartly written and well performed. No over dramaric patriotic or one man army, hero saves the day kind of dialogues.

Now the problem arises with the writing. The movie could've easily been a crisp - nail biting thriller but somehow it seems like the writers felt compelled to add unnecessary emotional sub plots that totally hinders the viewing experience. Instead they could have spent more time in some character building to the female lead.

The music is barley noticeble. Overall, it's still a decent try which could have been much better.

The Diplomat is a disturbing film in multiple ways. At its most immediate, it is a story of a woman betrayed by the one she loved and subjected to terrifying abuse - and whose escape from it then hangs by a thread due to the cold logic of nationalism. It is thus a cruel irony that the act of telling such a story, of honoring those labouring to save her, can itself serve as a fuel for the very kind of nationalism which elevates the passions about these stories and turns them into zero-sum contests.

At the same time, it is natural for people to want to honor the achievements of their countries - and in that sense, it is far, far better to honor the quiet and subtle decisions made by the diplomatic staff in the service of a moral cause than the usual path taken in cinema (let alone video games), which is to honor the "warriors", whose righteous gunfire supposedly solves the problems without fail - no matter how mixed the real-world evidence is. Fundamentally, those at the embassy could have had easily looked the other way, claimed it is not their place to intervene in "family disputes" or dismissed the strange veiled woman as getting what she deserved for both following the wrong religion and then compounding the error by leaving India behind. It is to their credit they do not do so - even as Pakistani media takes the opportunity to paint them in the worst possible light anyway, and husband's mountain tribe threatens real violence.

(If you are from the Subcontinent, you can probably skip to the next paragraph, as you likely already know everything I'm about to write for the benefit of whichever "outsiders" happen to see this review). It is also to film's credit that it is explicit the evil of Tahir, the Pashtun who meets Uzma in Malaysia only to lure her to his village, does not represent all of Islam (since obviously, Uzma is Muslim herself, yet could scarcely imagine of a society functioning the way that village did) but all or even most of Pakistan, as the country's civil society at large (including the court system) does not defend the real Tahir but the image of him they see through the media, and side with him only as long as they can believe in the fiction of the Hindu embassy kidnapping Uzma out of pure prejudice and against her will. It may sound like a low bar, but consider how many Western films still fail to make such distinctions - i.e. I challenge you to draw any such nuances from Garland's Warfare.

Thus, it is all the more disturbing to see how Pakistanis who cannot defend the conduct of Tahir and his ilk on the merits can nevertheless view him as a necessary evil for nationalistic reasons. This perspective is exemplified through the film's depiction of the Director of ISI (often described as the world's most effective intelligence agency due to the sheer amount of power it wields across the entire region), who is clean-shaven, urbane, dressed in the finest Westernized clothing and in short couldn't be more different from Tahir and relatives. Yet, he does his best to conceal his undeniable disdain, thinking of them as a tool necessary to safeguard Pakistan's independence - while Uzma's case becomes a piece on the never-ending chessboard, a way to not only mollify their power but to get even with India after an embarrassing counterintelligence failure, knowing his harshest critics would gladly accept him branding Uzma a spy and taking credit for "catching" her if it meant saving face.

This depiction is not a subtle point, but it's a valuable one. Nowadays, it's not hard to find broad proclamations that sacrificing others "for the greater good" is immoral, that the seductive consequentialist calculus can be altered in any number of ways to justify practically anything (i.e. The self-proclaimed "effective altruists" claiming the most effective thing they could do for the world is buy multiple castles to make themselves look more appealing to the donors) and that it is only easy when you don't believe you'll be one of those sacrificed. Actually seeing this process play out in front of us, in a real-world case for real-world reasons, is both eerie and forces one to consider where else we - or those we consider to be representing us - have followed the same kind of logic as the Director of ISI did in this narrative.

I wish I could have rated this film even higher, but it remains a flawed work. Some issues are fairly minor (i.e. The attempt at comic relief with the titular Diplomat's son is rather hit-and-miss, but not a huge distraction) but the misguided attempt at elevating tension in the final act is much harder to overlook. The temptation to "spice up" the final act in even historical dramas where that does not belong is common, but here, it's done in a way which makes Argo's "police cars attempting to chase the passenger plane on a landing strip instead of ordering the traffic controller to ground the flight" look downright restrained. Perhaps the next film of this kind from the region will avoid it, but I'm not holding my breath.