‘D-Day’ is far from perfect, but as pulpy Bollywood action films go, it’s very watchable and works its strengths. The film’s ending, controversial and melodramatic to say the least, nevertheless sits comfortably with the wish-fulfilment fantasy that Advani’s milking. I’m going with three out of five. It’s worth a watch; you won’t be bored.

Spies inhabit a shadowy world. They plot long-term moves, stay under cover for a living, and quietly run for their life when necessary, which is quite often. Any exposure equals death. Soon as their plot to abduct the don fails, these fellows just don’t know what to do or where to go. Neither does the film, sadly.

Parallels have been drawn with A Mighty Heart, even Zero Dark Thirty, but that’s only because all three films are set in what passes for Pakistan. However, D-Day’s imagining of Karachi is entirely Indian and far more intimate. Advani should take a bow, as for the most part, it works.

Till Dawood Ibrahim dies of old age, or is claimed by one of his own, we’ll keep dreaming of catharsis. But director Nikhil Advani feels differently. He thinks that if Americans can extract revenge and experience catharsis via Operation Neptune Spear, Indians deserve to exhale as well. So what if the Indian government and its unintelligent intelligence officers only offer the most dreary script? A fictitious one can be scripted.

D-Day has all the right ingredients that make it a memorable film.

D-Day is replete with such unusual touches. It is another matter that all of them do not eventually come together to make a cohesive whole. Yet, for all its flaws, this is a film good enough to merit a trip to the multiplex.

Straight up, D-Day is explosive at three levels. The plot crackles. The acting sears. And the music flares with passion. Catch it – this ‘D’ company denotes both debate and desh-prem.

“D-Day” isn’t the perfect thriller and the ending degenerates quickly into being jingoistic and loud, what with the villain and hero spouting homilies about the “new India”. But despite its flaws, “D-Day” is a film that works.

Nikhil Advani’s sixth feature film is an acutely accomplished work of art. It’s a thriller, yes. About the enforced extradition of a Dawood-like gangster. But what I came away with was a haunting love story between a mysterious Indian intelligence agent and a Pakistani sex worker, both wounded and scarred for life.

Nikhil Advani makes a gripping, tense film on a tight budget and minus an A-List actor. And proves just how accomplished a director he is. He tells you a strong, coherent story that makes you wish was based on a true incident. I would go as far as saying this is a genre-creating film.

With its chilling action scenes and thrilling emotional quotient, D-Day is perhaps one of recent times’ most rivetingly told stories. With Bollywood celebrating Dawood mostly, here’s a filmmaker who has made a daunting movie which effortlessly gives the character its correct hue.

The dialogues of the film could have been sharper. And despite a thick canvas, the film loses the plot and pace in between. It’s a one-time watch, do not go with much expectations.

Nikhil Advani ventures into an alien terrain with D-DAY, which, on surface, may seem like yet another gangster film, but it’s not. There have been a lot of debates about gangsters who have sought a secure haven on foreign soil and a lot is being said about getting them back to India for trial and justice. But D-DAY is the first Hindi film to explore this pertinent aspect

Nikhil Advani exhibits rare brilliance as he manages to sustain edge-of-the-seat suspense throughout. Watch it for an engaging story and engrossing performances.

All-in-all, D-DAY is a clear winner. A thriller worth every penny. This is the first time I would say, where art imitates life on screen. The first half is pure thrill with not a blemish.

Nikhil Advani’s taut direction of this film, keeps you hooked throughout, just once in a while letting you off the hook to gasp and breathe. While the fast paced action keeps you on the edge, what comes as a relief is that even the romantic portions between Rudra Pratap Singh and a sex worker (Shruti Hassan), who he’s cooped with to hide his identity, are tender, sensititve and original.

D-Day is a well-made thriller, with some outstanding performances. The film excels in portraying the dark reality of the underworld, with an impressive end.

On the whole, D-Day is an enjoyable fare and one which inspires a feeling of patriotism in the viewers. But it is more for the evolved audience. Its showcasing in the multiplexes is bad and, coupled with its poor start and unexciting title, this will mar the film’s box-office prospects and potential. Of course, collections will pick up due to positive word of mouth but the dull start is bound to play the proverbial villain, in the final tally. The film will win critical acclaim and will be a strong contender in many categories at the awards. Its business will be more in the cinemas frequented by class audiences and in the big cities.

Directed by Nikhil Advani, ‘D-Day’ gives you an optimistic visual reference to what could indeed be achieved, should one put in all what is needed to get hold of that one man – who tops India’s most wanted list.

For its flawless direction, proficient acting and adrenaline pumping scenes it is a must watch.

Following up on his exceptional Delhi Safari, Director Nikhil Advani continues to reinvent himself with D-Day, a well-crafted, violent drama balanced with an introspective mood that can loosely be indexed under historical fiction.