The last five minutes perhaps symbolizes the major part of the film. We’ll discuss it later.

Stunts and action run in Ajay Devgn’s blood — his father Veeru Devgan was a ‘thrills’ director. Celebrating 25 years in films (Phool Aur Kaante, 1991), AD releases his second directorial venture — his first, ‘U, Me Aur Hum’ was probably watched by only those characters.

Shivaay (Devgn — maybe a further change in the spelling after the fate of this film) is an experienced mountain climber who leads expeditions.  He meets Olga (the Polish Erika Kaar), who, after being saved  by Shivaay from a galloping avalanche, falls for him faster than one can make Maggi noodles. The outcome of this union in the snowy locales is left behind by Olga as she departs for her native Bulgaria.

Fast forward nine years. Shivaay and speech–impaired daughter Gaura (Abigail Eames) reach Bulgaria in their quest to find Olga. Ajay Devgn introduces Bulgaria as an East European country riddled with Russian mafia profligating in child-trafficking.  And when Gaura is kidnapped, Shivaay turns into a lethal combination of a Superman, Tarzan and Spiderman rolled into one and spurs himself on, both as actor and director. He smashes his way through the villain’s dens, but not before meeting cynical-turned-votary Sati (Sayyesha Saigal in a confident debut) working in the Indian Embassy.

Where the film scores is in its choice of locales and the cinematography of the scenic snow-capped moutains and Bulgaria.  The car chase scenes and stunts too are well executed.  But the myriad computer-aided effects barely help. Devgn helps himself to too many cinematic liberties, thereby blunting the efficacy of the action scenes. The theme song ‘Har har mahadev’ too pops up once too often. The love and kissing scenes between Devgn and Kaar match the frigid and snowy backdrop. Appearing in almost every frame, it is Devgn’s film all the way.

Ah yes, the final five minutes where Shivaay looks utterly bored as Sati mouths ‘Mujhe bhi nahi samajh mein aa raha hai, main kya karoon’, captures the essence of the film.