A Disappointing Debut

The film opens with the heroine attempting to create a captivating presence against a picturesque seaside backdrop. The promotional material suggests a bold return to the beach, but unfortunately, the film fails to deliver the excitement it promises.

Meera's entry into Bollywood showcases her acting skills, yet she lacks the charisma that could have significantly boosted the film's appeal.

With its shortcomings, Nazar falls flat. Director Soni Razdan struggles to maintain a cohesive narrative, compounded by a lack of technical finesse.

Throughout the lengthy film, viewers are subjected to the protagonist's supposed eerie visions.

Meera possesses the ability to foresee deaths, but the film fails to engage the audience as effectively as other thrillers. The issue lies not with her performance but with the director's inability to cultivate an atmosphere of suspense and dread.

The film is riddled with distractions. At one point, the narrative loses its way, diverting to a musical interlude under a waterfall.

This diversion prevents the plot from regaining momentum. Although Razdan refrains from inserting unnecessary songs or comedic breaks, she continuously places the characters in convoluted crises that appear intricate from a distance but seem absurd upon closer inspection.

The four central characters include an actress (who may or may not qualify as such), a cop portrayed by Ashmit Patel, his colleague Koel Puri, and a doctor played by Aly Khan, whose interactions with Meera are less than professional.

The film's mystery surrounding the killer is poorly executed, leaving viewers unsatisfied. The storytelling lacks depth and allure, and the chemistry between the lead actors is virtually nonexistent. Meera appears significantly taller than Ashmit Patel, who resembles a garage rock drummer more than a police officer.

Interestingly, the film raises questions about the casting choices in cop roles, as previous productions have faced similar critiques.

Koel Puri emerges as a potential scene-stealer, attempting to infuse some intelligence into a film that resembles a declining whodunit. The narrative hints at a larger catastrophe involving the serial killings of beer-bar dancers.

A senior cop dismisses the notion of serial killings as a Hollywood trope, yet the execution in Nazar feels amateurish, making even a long-running TV series appear more polished.

The film lacks a serious psychological undertone, attempting to address issues like the struggles of beer-bar dancers and the HIV virus, but ultimately fails to support these themes beyond superficial slasher elements.

Notable performances include Gujarati stage actress Sarita Joshi in a red-light sequence and Neena Gupta's qawwali, both of which veer into exaggerated territory, reflecting the film's overall lack of restraint.

In discussing Nazar, director Soni Razdan expressed her commitment to the project, emphasizing her autonomy in directing. She credited her husband, Mahesh Bhatt, for allowing her creative freedom.