‘The Diplomat’ (2025) Movie Review - John Abraham in a Mediocre Political Thriller

My screening of The Diplomat was marred by an agonizing delay of nearly 40–45 minutes. On top of that, the commercials and the trailers consumed another 5–10 minutes. Just when I thought things couldn't get worse, a disembodied voice began reading a lengthy disclaimer that may as well have been a lecture lasting 30 minutes. Though the film's runtime is 2 hours and 10 minutes, it felt as if I had already endured a grueling 5-hour ordeal in the theater. To make matters worse, the fire alarm kept turning on every two minutes for the first 20 minutes of the film. I swear, I was on the verge of storming out of the movie theater; I nearly vowed never to go there again. While many cinephiles, critics, and filmmakers cherish the communal magic of watching films together, the incompetence with which theaters are currently being handled has led me to question that notion. It's time we stop romanticizing the idea that "movies should be watched on the big screen with friends and strangers." Just stop peddling this nonsense and pardon my French but fuck theatrical experience - it has turned into a nightmare. You are better off watching films on OTT platforms. At home, there's no crying baby to distract you, no chatty audience member to break your concentration, and no blaring fire alarm to jolt you from the cinematic experience. And here's the best part: You can skip all those ridiculous disclaimers and anti-smoking PSAs. Just directly cut to the chase. Or maybe theaters should start respecting their audiences by managing their facilities with competence. Many attendees ought to learn some basic manners as well. If you can't keep quiet or control your baby, do everyone a favor and stay home or go to a zoo/park/whatever. People don't buy tickets to listen to your claptrap.

I won't apologize for the rant, but I did feel sorry for The Diplomat. Now, the film had to do extra work to grab my attention. Thankfully, director Shivam Nair managed to suck me into the film effortlessly through a tight, suspenseful opening act. As Uzma Ahmed (Sadia Khateeb) began to explain her plight to an embassy officer, I became curious. Is this cry for help a part of the plan she has hatched with Tahir (Jagjeet Sandhu), her husband? He does tell her to do whatever they have discussed. When Uzma runs inside the Indian Embassy and begs everyone to let her stay there or allow her to leave through the front door, J. P. Singh (John Abraham) - the titular diplomat - says, "Ek darwaja dekh chuki ho. Ab dusra bhi dekhna chahti ho?" or something like that. It's a brilliant question. The Diplomat could have used more such "verbal smartness." J. P. Singh does ask if Uzma's wounds have been artificially created, but the film passes a verdict on Uzma's character long before we arrive at this particular moment. That long disclaimer spoils everything, and the trailers have already proved that Uzma isn't lying (we see Tahir brutally hitting her). A daring, intelligent film would have concealed the crucial things and revealed the whole picture slowly and methodically. We would have learned about Uzma along with J. P. Singh. Such a film wouldn't have cut to the flashback during that scene where Uzma narrates her story, as it would have had faith in the dialogue to do the heavy lifting. J. P. Singh's trust (or lack thereof) in Uzma, after all, solely stands on the statements she gives. The Diplomat, at its core, is about the power the words can have on somebody. Remember that it's Uzma's urgent, impassioned plea that motivates that embassy officer to grant her entry.

But The Diplomat is a product of an industry that's run by filmmakers and producers who can intellectually fart during roundtables, interviews, and PR meetings. They all apparently believe that the audience has grown intelligent due to exposure to OTT. They are watching Korean, American, Chinese, Taiwanese, and many more shows and films, which means Indian filmmakers have to pull up their socks and give them something new, fresh, and exciting. Unfortunately, their idea of something new, fresh, and exciting is Chhaava, Sky Force, Deva, Fateh, Superboys of Malegaon, Dabba Cartel, and now, The Diplomat. Then again, based on recent releases like I Want to Talk, Emergency, and Azaad, one shouldn't expect intelligence from Ritesh Shah, the writer of The Diplomat. And since director Shivam Nair is the man behind gems like Bhaag Johnny and Naam Shabana, I guess we shouldn't be surprised by the fact that The Diplomat is so mediocre, so meh. Nothing here can be defined as gripping or engaging, except for the opening and the climax. J. P. Singh's diversionary tactics (he sends Uzma to the court and calls Tahir to the embassy to waste his time) and manipulation tricks (he hides the real Uzma by making two other women wear burkha) don't really leave you astonished. The burkha thing, in fact, leads you to think that J. P. Singh watches too many films. Another reason for such a weak reaction is that the bad guys never appear incredibly menacing. They, with their scornful, angry faces, simply exist on the screen. They can make scary faces all right, but they don't have wit. Hence, you never fear that they could match J. P. Singh intellectually.

Abraham looks very assured and very appealing. His restrained expressions, his neatly combed hair, and his muscular physique attract you to him. He actually looks like a professional - this poised diplomat dispatches orders authoritatively. It's almost impossible to avert your gaze from him. Poor Khateeb, though, is reduced to an eye candy. Her Uzma is almost like a dumb blonde from a slasher film who digs her own grave foolishly. The Diplomat tries to "humanize" her foolishness through an exchange between her and an ISI officer (Ashwath Bhatt), but it comes across more like a "cinematic justification" to create a stupid, clumsy character. The Diplomat says that Uzma accepted Tahir's offer to go to Pakistan because she wanted to provide medical treatment to her daughter. Why couldn't Uzma call her daughter to Malaysia or return to India for the operation? Couldn't she find a job in this great motherland? Isn't there a family member who can take the daughter to the hospital so that all Uzma would have to do is transfer money for the operation? This might sound like a generic, general statement, but wouldn't most Indians hesitate to choose Pakistan as their new residence? The rivalry between the two countries is as old as the mountains, and it's deep inside the minds of the citizens. I am sure Uzma must have heard some things about Pakistan, and she must have asked Tahir more questions about the place, right? The answer is no, according to The Diplomat. This Uzma belongs to the second grade. She is a tool the writer exploits to move the plot wheel of The Diplomat. What's funny is that we never learn how the daughter's condition was handled. This detail turns out to be as disposable as Tahir's wives, who are trapped in Pakistan in an evil, patriarchal environment. The movie clumsily attempts to give it weight through cutesy shots of Uzma playing with her daughter.

J. P. Singh, too, gets a "cute flashback" where we see him smiling at a little girl playing with a Russian doll. This schmaltziness is present to imbue an explosion with more violence through the image of a hand and the doll lying in dust and destruction. It's a very vulgar moment. But what else can you expect from the filmmakers who have inserted an awkward interval, who have placed a post-credits scene that looks expendable, who try to elicit laughter through phone calls between J. P. Singh and his curious son? These so-called jokes are so lame that they make you think that the filmmakers should have allowed Abraham to go shirtless instead. There is, however, a comic scene that produces chuckles. It comes when a character casually listens to Uzma's problem and then casually offers her a solution. A woman is telling you that she has been deceived and kidnapped, and you respond like someone who has been asked instructions regarding how to update some software? Well, at least the inadvertent humor is humorous.

Final Score- [3.5/10]
Reviewed by - Vikas Yadav
Follow @vikasonorous on Twitter
Publisher at Midgard Times