Prahaar
Prahaar arrived in theatres on 16 October 2026 as a Hindi-language legal drama centred on public prosecutor Ujjwal Nikam. Directed by Avinash Arun and produced by Dinesh Vijan under Maddock Films, the film stars Rajkummar Rao in the lead role with support from Wamiqa Gabbi, Lalit Prabhakar, Jaideep Ahlawat, Sikandar Kher and others.
It focuses on the courtroom battle that followed the 2008 Mumbai attacks, particularly the prosecution of Ajmal Kasab, while also touching on earlier cases such as the 1993 Bombay blasts. Early audience response has been mixed but leans positive on the performances.
Many viewers on X and BookMyShow highlighted the acting and court sequences, while others found the overall experience slower and less gripping than expected. The story follows Ujjwal Nikam as he takes on the high-profile case against Kasab. It shows the careful building of evidence, the long legal process, the defence arguments, and the personal cost of the work on Nikam’s family life.
The film stays largely inside the courtroom and the investigation rather than recreating the full scale of the attacks. It presents the pursuit of justice through due process without turning the narrative into pure nationalism or spectacle. Audience discussions on X, BookMyShow and other platforms repeatedly praise Rajkummar Rao’s measured and convincing portrayal of Nikam.
Viewers noted his body language, dialogue delivery and quiet intensity in the court scenes. Lalit Prabhakar’s performance as Kasab has also drawn strong reactions for its unsettling presence. Supporting actors, especially Sikandar Kher as the defence lawyer and Jaideep Ahlawat in a key role, received positive mentions. Several people appreciated the research and the focus on the trial process, which has rarely been shown in this detail on screen.
Common complaints centre on pacing. Some felt the film loses momentum outside the courtroom, particularly in the family portions, and that the 140-minute runtime could have been tighter. A few described it as more documentary-like or dry in stretches. Overall sentiment remains respectful of the subject and the lead performance even when the film itself is called uneven.
Those who enjoy serious courtroom dramas, performance-driven stories and films based on real legal battles will likely find value here. The strengths lie in the acting and the focused legal confrontations. The weaknesses show in the uneven rhythm and limited emotional pull of the personal subplot.
It is worth watching in theatres if you are interested in the subject and want to experience the court sequences on the big screen. Others may prefer waiting for a streaming release where the slower sections feel less demanding.
