Aazaan Khan (Sachiin Joshi) as a kid has seen terrorism at close quarters back home in Afghanistan when his family was butchered. His brother Aman had shot dead the terrorists but later turned one himself.

A faceless megalomaniac named Doctor (Sajid Hassan) is unleashing a biological war on the world with a deadly virus named Ebola, and the international forces of law are trying to trace his identity to destroy him, but Doctor is always one step ahead and his main target is India. The intelligence department is desperate and turns to Aazaan for help. Aazaan is a hunk who is as good with weapons as with his fists and he travels around the world to find the villain.

There are a couple of twists in the tale, like the turncoat among the law enforcers. The narrative pattern followed is of international espionage films.

But since there is little by way of plot or script, all we get is an extravaganza of explosions, shootouts and fist-fights by the minute. Awe-inspiring locations from diverse countries around the world are shown like quick glimpses of tourist promos, but most of the locations are inundated by chases, murders, blasts and what-have-you.

The action is relentless, expensively shot and expertly lensed (Axel Fischer is the DOP and there is a whole team of action coordinators). Somewhere, the emotional element, the audience connection and substance are forgotten in the bid to be spectacular. But hey, dude, where is the script apart from all this?

Prashant Chadha, who gave us such enjoyable old wine in a musical new bottle in his debut film “Aap Kaa Surroor” (2007), forgets the basics this time, fueling the conviction that Himesh Reshammiya, the backbone of that film, must have sat on his head there for mass-appeal.

He replaces melodies with cacophonous Salim-Sulaiman sounds posing as Sufi songs with horrendous, trendily hollow verse by Amitabh Bhattacharya.

Forget masterpieces like “Sarfarosh” or “Dus”: this  one does not even measure up to the qualitatively B-grade Hollywood spy thrillers. The dramatic style is rather confusing with jumps in the narration where the action and sequences catapult from country to country and character to character with little build-up and no conclusion. It’s all sound and fury that signifies nothing more than a vacuum in the creative process. The first half has moments that are plain incomprehensible.

Sachiin Joshi, the new hero, for whom this is a home launch, has exactly two expressions and blinks to display any kind of emotion. His expressions when he is in love and when he has killed his brother are almost identical! Candice being made to do everything like a Hindi film heroine (dance and cavort in a song, utter mushy lines, put a child to sleep and die after saying her lines in the arms of then hero) elicits derisive laughter because of her fakeness.

Ravi Kissen, going one worse than even Sachiin, screams and yells every line he has and contorts his face to demonstrate everything from joy to rage to frustration. Alyy Khan is okay but we wonder why he keeps an accent. Sarita Chowdhury looks believable as a RAW officer but has no scope. Neither do seasoned actors like Dalip Tahil and Sachin Khedekar.