Attack (2022)

Attack feels special because it takes a very Bollywood-sized action star and drops him into a sleek, near-future India where heroism is engineered as much as it’s earned. John Abraham sells the super-soldier premise with sheer physical authority, and the film keeps tightening the screws with brisk pacing that makes the siege-and-hostage tension play like a ticking clock. Director Lakshya Raj Anand stages the set pieces with a glossy, modern style—part techno-thriller, part grounded combat—so the sci-fi elements enhance the adrenaline instead of drowning it. If you want a thoughtful, slow-burn science-fiction drama, this isn’t that; but if you’re on the fence and craving a sharp, high-concept action ride that moves, hits hard, and looks the part, Attack is an easy yes.

Attack is clearly trying to mash up a slick Indian action-thriller with a cyborg super-soldier premise, aiming for big stakes, big noise, and a straightforward revenge-to-hero arc. The problem is it plays out exactly the way you think it will, with thin characterization and writing that treats plot as a delivery system for set pieces rather than something with tension or surprise. If you need smart twists, emotional depth, or grounded logic in your sci‑fi, this will likely feel like an overcaffeinated assault that mistakes volume for impact. That said, if you’re mainly here for John Abraham doing no-nonsense action in a high-concept package and you can tolerate a predictable story and moderate gore, it can still work as a one-time, switch-your-brain-off watch.