Sikandar Ka Muqaddar: A Thriller That Loses Its Grip Midway

The opening shot of Sikandar Ka Muqaddar is a tense, sweaty close-up of Avinash Tiwary as Sikandar, his eyes darting around a dimly lit room, the weight of the world pressing down on him. It’s a gripping start to Neeraj Pandey’s latest thriller, one that promises a cat-and-mouse game between a cop and his suspect. Unfortunately, that promise fades faster than it should.

Pandey, known for gritty crime dramas like A Wednesday!, crafts a premise with real potential: a diamond heist gone unsolved, a relentless cop (Jimmy Shergill’s Jaswinder) whose pursuit of justice tips into obsession, and a man (Sikandar) caught in the crosshairs. The film’s first act hums with tension, thanks to Shergill’s commanding presence and Tiwary’s quiet intensity. Shergill’s Jaswinder is a hard-nosed cop who believes in his gut even when the evidence doesn’t cooperate, a choice that could’ve anchored the film in moral ambiguity. The early scenes of investigation, the claustrophobic interrogation room, and the way Pandey frames Shergill looming over Tiwary—these moments crackle with energy.

But where Sikandar Ka Muqaddar stumbles is in its pacing. The film’s middle act drags as Jaswinder systematically ruins Sikandar’s life, a sequence that feels repetitive rather than relentless. Pandey lingers too long on Sikandar’s suffering—lost jobs, broken homes, beatings—without deepening the emotional stakes or the moral complexity. Shergill’s performance, while solid, lacks the nuance to make Jaswinder’s obsession truly unsettling. Tiwary, meanwhile, carries the weight of the film’s emotional core with conviction, but even his strong work can’t elevate the script’s structural flaws.

The film’s second half attempts a redemption arc for both men, but it arrives too late and feels rushed. The revelation of the heist’s true mastermind—revealed through Sikandar’s narration in a remote location under Jaswinder’s gunpoint—lacks the dramatic punch it should have. Pandey cuts corners in the storytelling, relying on exposition rather than visual storytelling to tie up loose ends. The final confrontation between Jaswinder and Sikandar is undercut by the film’s own pacing issues; by the time they face each other, the emotional payoff feels hollow.

Where Sikandar Ka Muqaddar does shine is in its supporting performances. Divya Dutta as Kaushalya Singh, Sikandar’s mother, delivers a grounded portrayal of grief and resignation. Tamannaah Bhatia, as Kamini, brings warmth and resilience to her role, even if her character arc is sidelined in the film’s final act. The cinematography, particularly in the early heist scenes, is sharp and atmospheric, with tight framing that amplifies the tension.

The film’s exploration of obsession and its consequences is thematically rich but unevenly executed. Jaswinder’s descent into alcoholism and desperation mirrors Sikandar’s struggle to rebuild his life, creating a parallel narrative that could have been compelling. However, the film struggles to balance these two arcs, often prioritizing action over character development. The themes of justice versus vengeance are intriguing but underdeveloped, leaving the audience with more questions than answers.

Comparatively, Sikandar Ka Muqaddar falls short of Pandey’s earlier work. Films like A Wednesday! and MS Dhoni: The Untold Story benefited from tighter storytelling and stronger character arcs. While Sikandar Ka Muqaddar has moments of brilliance, it lacks the cohesion and emotional depth that made those films stand out.

The film is likely to appeal to fans of crime thrillers who enjoy complex narratives and morally ambiguous characters. However, casual viewers might find the pacing and structural issues off-putting. The performances by Shergill, Tiwary, and Dutta are strong enough to carry the film through its weaker moments, but they’re not enough to elevate it to the level of Pandey’s best work.

In conclusion, Sikandar Ka Muqaddar is a film that starts strong but loses its way. Pandey’s direction is competent, but the script’s structural weaknesses hold it back from being the gripping thriller it aims to be.