Name: Udta Teer
Genre: Spy, Comedy
Released: 2026-10-23
Duration: 2 h 18 min
Rating: 6.4
Cast: Ayushmann Khurrana, Sara Ali Khan, Gulshan Grover, Ram Kapoor, Mukul Dev

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Ayushmann Khurrana and Sara Ali Khan lead this high-energy spy comedy, directed by Akash A. Kaushik. Packed with action, humour and globe-trotting chaos, the film brings a fresh pairing together for a family-friendly entertainer.

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He forgets he works for Pakistan and starts working against his own bosses

Ayushmann's spy has a memory problem

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Akash A Kaushik's story is very amusing but loses steam in the third act. Akash A Kaushik, Gautam Govind Sharma, Dia Walia and Madhur Sharma's screenplay emerges victorious, especially in the humorous scenes. In the second half, it could have been a bit simpler. Akash A Kaushik's dialogues add to the laughs and madness.

Akash A Kaushik's direction is fair, especially for a debutant director. His biggest strength is how he handles humour and, in this regard, he goes all out. The scenes of M D Burman (Rahul Bose) and Azhar Maqsood (late Mukul Dev) are the best parts of the film and would lead to a lot of laughs. Then there are certain scenes where the jokes have a geopolitical touch and that would also be lapped up by those who have an interest in current affairs. Thirdly, the humour is also derived from the smart use of old Hindi songs. One such humorous scene that works well is the way the song ‘Julie I Love You’ has been used in the film.

On the flipside, the film takes a serious turn post-interval, and that's where it begins to falter. The narrative becomes increasingly complex, with too many twists and double-crosses. After a point, it becomes difficult to keep track of whose side Bilal, aka Vikrant, is actually on. The track of Vikrant and Yamini fails to work as intended. Moreover, while the humour would be lapped up by the youth, it may not appeal to family audiences and senior citizens. Some of Rahul Bose's scenes, in particular, might come across as repulsive and insensitive to certain viewers.
Udta Teer Movie Review Performances:
Ayushmann Khurrana, as always, delivers a fine performance and manages to look convincing as a spy gone rogue due to memory issues. Sara Ali Khan looks lovely and performs as required. However, she's let down by the writing. Rahul Bose delivers the funniest performance of his career and is a surprise. The late Mukul Dev, too, delivers one of the best performances of his career. Ram Kapoor and Gulshan Grover are dependable as always. Suhail Nayyar (Dhruv Kumar Singh) has a crucial role and is entertaining. The same goes for Smita Tambe (I S Holkar; Vikrant's boss) and Sandeep Anand (Shambhu; Vikrant's househelp). Supriya Pilgaonkar (Yamini's mother) and Brijendra Kala (K K Srivastav) lend able support while Kavya Kumar (Sharif) is funny.

Udta Teer movie music and other technical aspects:
Sachin-Jigar's music is okay. The title track is catchy. 'Choozay' and 'Bhootni Ka' are well picturized but are not memorable. 'Chann' and 'Jai Hind' are forced into the narrative. Ketan Sodha's background score is quirky, just like the film.

Harshvir Oberai's cinematography is satisfactory. Sea Young Oh, Mohammed Aejaz Gulab Shaikh and Mohd Amin Khatib's action adds to the entertainment quotient. Abhilasha Sharma's costumes are stylish yet realistic. Mayur Sharma's production design is satisfactory. Shivkumar V Panicker and Prerna Saigal's editing could have been sharper.

Udta Teer Movie Review Conclusion:
On the whole, UDTA TEER is an amusing spy comedy that works thanks to its quirky premise, hilarious moments and entertaining performances, especially by Rahul Bose and the late Mukul Dev. At the box office, it releases with minimal hype and would need a strong word of mouth to leave a mark at the box office.

With dime-a-dozen spy thrillers flooding Bollywood, Udta Teer feels like a refreshing mockumentary-style satire that offers a funny take on the genre. At least, that’s how it begins. An Indian agent proclaims, ‘Mulk ke aagey kuch nahi’, only for it to emerge that he is actually Pakistani and means the same for his own country. But when he and his allies risk blowing their cover, a fatal accident leaves him with amnesia, triggering chaos and comedy as he suddenly becomes loyal to India. Deshbhakti yaad hai, par desh nahi.
Director Aakash Kaushik crafts an entertaining first half that keeps you guessing. As Bilal shuttles between his two identities and then grapples with memory loss, his true intentions remain delightfully ambiguous. Is he telling the truth, or is he playing everyone?
Ayushmann is ably supported by a terrific Suhail Nayyar, whose repartee with the actor delivers several laugh-out-loud moments. Popular film songs from Karan Johar’s productions are cleverly deployed to convey emotions in the strangest situations. The late Mukul Dev is superb as militant leader Azhar Maksood, who is hilariously obsessed with Hinder, a dating app.
The narrative gathers momentum, raising hopes of inventive filmmaking, until the film needlessly switches gears and turns into a serious patriotic drama. The tonal shift feels jarring and entirely unnecessary, as the film abandons the very premise that sets it apart in favour of generic, crowd-pleasing antics. The humour gradually disappears, leaving behind a monotonous and tiring narrative. The film feels oddly structured, with its two halves differing drastically in sensibility and intent. It almost seems as though someone warned the makers against venturing too far off the beaten path if they wanted commercial success. Ironically, that apparent caution becomes the film’s biggest undoing.
Sara Ali Khan appears to have walked straight out of Rocky Aur Rani Kii Prem Kahaani, sporting saris and blouses for her Defence Ministry job, but has little else to contribute. Veteran actor Supriya Pilgaonkar is wasted in a forgettable part. Rahul Bose is hilarious as the CTS chief, as is his chemistry with the talented Smita Tambe. Ram Kapoor and Gulshan Grover are effective in their respective roles. The writing dares to be audacious but loses steam.
True to form, Ayushmann once again picks an interesting premise and delivers a committed performance. Udta Teer has plenty of promise, but its glaring change of identity ultimately derails it. What could have been an irreverent spy satire loses its nerve and retreats into familiar territory. A film that begins by taking a refreshing detour, eventually plays it safe.

Udta Teer is a spy comedy that cleverly blends humour with a tale of mistaken identity and patriotism, featuring Ayushmann Khurrana and Sara Ali Khan. The film's light-hearted approach to espionage, coupled with sharp writing and a strong supporting cast, makes it an entertaining watch.
In one scene in Udta Teer, Ashfaq (Suhail Nayyar) tells Bilal (Ayushmann Khurrana), "Sunny Deol bana baitha hai, tu Tara Singh nahi Ashraf Ali hai." That line sums up the film rather well. A Pakistani spy loses his memory and begins behaving like a patriotic Indian, ready to do anything for the country. The catch? He remembers his love for his country but has forgotten which country it is.
Written and directed by Aakash Kaushik, Udta Teer is a comedy of errors set in the world of spies, secret agents and shifting loyalties. The film finds humour in its lead character’s identity crisis. It may not reinvent the spy genre, but it delivers enough laughs to keep things entertaining.

The story begins in Pakistan, where terrorist Azhar Maqsood (Mukul Dev) threatens revenge following Operation Sindoor. Intelligence inputs suggest that he has crossed the border and is somewhere in India. In Baramulla, Kashmir, we meet Vikrant Thapar (Ayushmann Khurrana), an officer with India's Counter Terrorism Squad (CTS), who is involved in an operation to track down Maqsood.

But Vikrant has secrets of his own. His real identity and loyalties are not what they appear to be, and his past is tied to a larger conspiracy involving Indian and Pakistani intelligence agencies. As the story unfolds, a series of unexpected events puts him in a situation where he must question who he is and what he stands for.

Meanwhile, CTS chief Varman (Rahul Bose) is trying to uncover a mole within his team. Vikrant's personal life is hardly in better shape. His marriage to Yamini (Sara Ali Khan), who works in the Defence Ministry, is on the verge of falling apart. With professional secrets and personal problems colliding, the stage is set for a series of chaotic happenings.

The film adds a comic twist to the familiar spy-thriller setup. The humour comes from mistaken identities and the gap between what the characters know and what the audience knows. Kaushik uses this confusion to keep the comedy and the spy plot moving together. It has shades of Dhurandhar, but with comedy at its heart.

The best part of Udta Teer is how it plays with its protagonist's identity crisis. A man trained to serve one country suddenly becomes fiercely protective of another, without realising that his understanding of himself has changed. His new-found patriotism creates some amusing situations, especially when those around him struggle to make sense of his behaviour.

The Sunny Deol reference adds humour by using familiar Bollywood imagery to highlight the confusion in the story. The song Bhul Gaya Sab Kuch (Julie [1975] title song) also appears at the right moment, making a simple joke work well.

The supporting cast gets its moment to shine too. The hospital scenes involving Rahul Bose's Varman provide some of the funniest moments, while Sandeep Anand adds to the laughs. Ashfaq's reactions to the unfolding chaos are entertaining, and the film keeps finding ways to use its characters' conflicting interests for comic effect.

The humour works because it comes naturally from the situations rather than forced jokes. The spy plot sets things up, while the characters' reactions add to the funny situations. The film balances its national-security theme with a light tone, making it more of a comedy with a spy story than a thriller trying too hard to be funny. There is no over-the-top patriotism shown, and the characters never get preachy, which in this scenario is easy.
Suhail Nayyar is equally good as Ashfaq. His exchanges with Ayushmann and Rahul Bose add to the film's comic appeal, and he handles the comic situations without trying too hard. And, his performance makes you echo his favourite line to him – Laale kamal da banda hai tu.

Mukul Dev, as Azhar Maqsood, adds humour to the film. His introduction, where he swipes on Hinder, a Pakistani dating app, sets the tone for the film’s unexpected comedy. The late actor leaves a mark in his scenes.

Sara Ali Khan has limited screen time as Yamini, but she is convincing in what she is given. Her troubled marriage with Vikrant adds a personal angle to the story, although the character could have been developed further.

Ram Kapoor brings credibility to his role, while Rahul Bose is another highlight, and a lot of his comedy comes from just his eyes, quite literally. Brijendra Kala makes good use of his understated screen presence, and Gulshan Grover and Raghubir Yadav add to the supporting cast.

While Udta Teer revolves around national security, its USP is its comedy. The music adds to the fun, too, with its quirky lyrics complementing the film's humour. Bollywood references and well-timed jokes add to the fun, while the supporting cast ensures that Ayushmann Khurrana isn't carrying the comedy alone.
Aakash Kaushik's writing brings together espionage, mistaken identities and patriotism, finding humour in the gap between who the protagonist is and who he believes himself to be.

If you wanted Dhurandhar with more humour, this is it. Udta Teer is in cinemas now.

Akash A Kaushik’s Udta Teer starring Ayushmann Khurrana and Sara Ali Khan is genre-bending. And that’s all that’s there to this film. Billed as a spy comedy, the film delivers a few chuckles but rarely a big laugh. Cinematically, it’s far too lacklustre. It’s this monotony, compounded by its linear storytelling, that brings the film down.

Logic leaves the room pretty early, but that isn’t the problem. The trouble begins when Udta Teer tries to be more than its core premise warrants. What could have been a quirky, contained story gradually morphs into a jingoistic narrative peppered with an unnecessary love ballad and a deshbhakti song. On paper, the genre blend sounds exciting, but onscreen, it feels tonally confused.
The film opens in Pakistan’s Mudirka with terrorist Azhar Maqsood planning a retaliation on India after Operation Sindoor. Now hiding in Delhi, he spends his time looking for his ‘hoor’ on a Muslim dating app called Hinder as a track titled Azerbaijaan plays in the backdrop. It’s funny, and for a moment, you almost believe the film will sustain this irreverent tone throughout its comic caper.

Running parallel to this is the story of Pakistani military agent Bilal Ahmed, alias Vikrant Thapar, who operates within India’s Counter Terrorism Squad under the guise of a Pakistani spy. Having lost his parents to cross-border firing, Vikrant sees his role as an agent as an opportunity to avenge their deaths. He’s joined on the Indian intelligence team by fellow Pakistani Dhruv, aka Ashfaq.

During an operation, however, Vikrant and Dhruv’s boss, Burman, discovers their true identities. A scuffle inside the car leads to an accident, leaving Burman in a vegetative state. Vikrant, meanwhile, suffers memory loss and begins to believe that he’s a deshbhakt agent working for India. What follows is a series of missions that descend into a comedy of errors and chaos.

On the personal front, Vikrant’s life is equally chaotic. His marriage to Yamini, who works at the Indian Defence Ministry, is on the verge of collapse, with the couple headed for divorce. This subplot, however, hardly contributes to the larger narrative. It disrupts the flow, feeling jarringly disconnected from the central plot and acts as a device that doesn’t do much beyond giving Yamini some screen time.
At 2 hours and 17 minutes, Udta Teer struggles to maintain a consistent pace, dipping far too often. The narrative lacks both meat and engaging moments to hold your attention, with the pre- and post-interval portions suffering from the same problem. In fact, it only begins to take shape in the truest sense of the word about 40 minutes in.

The film’s attempts at humour often feel contrived. In one such sequence, an action scene unfolds inside the hospital where an immobile Burman is admitted. Vikrant uses Burman and his stretcher as both a shield and a weapon to fend off Pakistani agents. The sequence also involves a dead body and an awkwardly staged moment between her and Burman.

The entire set piece is silly and frivolous and rarely funny. In another sequence, Vikrant and Dhruv chase Maqsood through the narrow lanes of Old Delhi. The scene is weighed down by excessive dialogue and over-the-top physical comedy, neither of which manages to elicit a laugh. In yet another instance, Burman is strapped vertically to a stretcher, with Dhruv using a remote to make him dance.
What is presumably intended as slapstick humour comes across as distasteful and utterly unfunny. Credit where it’s due, though. The film does manage to land a few moments of humour after Vikrant loses his memory and a tearful Shambhu, his helper and a Pakistani spy, is forced to learn Hindu prayers and chants.

In a scene reminiscent of Kuch Kuch Hota Hai, Shambhu clutches the Pakistani flag and cries into it as Vikrant celebrates India’s victory over Pakistan with Tujhe Yaad Na Meri Aayi playing in the background. While Shambhu channels Kajol’s Anjali, Dhruv steps into the role of Rifat Bi. These moments offer glimpses of the irreverence the film could have sustained more consistently.

There are some moments of organic humour that also work. References to the Pakistani Prime Minister provide some of the film’s more amusing moments. When Mir repeatedly ignores and mocks him, the latter quips, “Iss mulk mein Sharif ki koi jagah nahi hai." These meta jokes land precisely because they feel effortless rather than manufactured.

The sudden turn towards avid jingoism in the second half, however, takes the film in an entirely different direction. Patriotism begins to feel like a forced trope, shoehorned in to strike an emotional chord, and in the process, the film loses the easygoing vibe it initially establishes. This stretch feels disconnected from the rest of the film, disrupting the genre and its tone.

Akash’s screenplay is all over the place, often feeling like a clash of sensibilities struggling to find common ground. The film is also bloated with characters, several of whom add little to the narrative. Yamini’s mother and Mir, for instance, feel entirely dispensable and could easily have been written out.

In the post-credit scene, Yamini jokes that she too is a Pakistani spy before clarifying that she’s kidding. One wishes she weren’t. The revelation, had it been real, could have added layers to her character, lending her some intrigue, nuance and narrative heft. Instead, her strained marriage with Vikrant remains largely unexplored, leaving their relationship feeling underdeveloped.

It’s also this flat writing that does Sara Ali Khan no favours. Her Yamini isn’t a fully realised character and has little purpose within the larger narrative. While Sara is good in the scenes she appears in, the role gives her very little to work with, leaving her unable to make a lasting impact. If Vikrant is the brawn, Yamini is the brain. Yet the film doesn’t quite explore her cerebral prowess.

Their chemistry too lacks the natural ease and romantic tension needed to make their strained marriage feel convincing. Ayushmann Khurrana is convincing as Vikrant/Bilal, but his performance is ultimately constrained by the bumpy screenplay, and he never quite rises above it. This is certainly not among his best performances.

The makers criminally underutilise Rahul Bose, who plays Burman. It’s baffling why an actor of his calibre would take on a role that barely scratches the surface of his acting prowess. The writing doesn’t let Supriya Pilgaonkar and Gulshan Grover leave any impact either. Ram Kapoor as Niyazi is decent, and so are Brijendra Kala and Raghubir Yadav.

It’s Suhail Nayyar, Shambhu Sansi and Smita Tambe who deserve special mentions. Suhail gets to be more than the hero’s sidekick, and he gives it his all as Dhruv/Ashfaq. His helplessness is palpable, and so is Shambhu’s. Smita Tambe, who first appears resolute as Vikrant’s senior and then goes puppy-eyed for Burman, is impressive.

The late Mukul Dev steals the spotlight as Maqsood in his final posthumous screen appearance. His one-liners are often hilarious, his quirky body language is spot-on, and his Pakistani accent is bang on. With impeccable comic timing, he elevates the screenplay whenever he’s onscreen. He slips effortlessly into the skin of his character, making you wish he had been given more screen time.

All in all, Udta Teer attempts to be novel, and its intentions are in the right place. However, it strays from its core premise far too often, losing sight of what makes its setup promising. A tighter, crisper screenplay could perhaps have salvaged the film. If you want to watch Ayushmann and Sara on your screens, kindly revisit Pati Patni Aur Woh Do. Keep this one as a second-screen viewing.

What Works
The biggest strength of Udta Teer is its willingness to embrace absurdity. Rather than treating the spy actioner as an entirely serious affair, the film uses its high-stakes premise to generate entertaining confusion. Ayushmann Khurrana effortlessly slips into every character he portrays, and Udta Teer is no exception. As a Pakistani spy suffering from amnesia and caught in a case of mistaken identity, he nails the role with his natural comic timing, expressive performance and impeccable sense of humor. 

Matching his energy are Suhail Nayyar, Gulshan Grover, Mukul Dev, Rahul Bose and Sandeep Anand, who elevate the comedy with their spot-on comic timing. The film's dialogues and sharp exchanges add to its appeal, keeping the humor lively and engaging. Sachin-Jigar's music and Ketan Sodha's background score contribute to the atmosphere, helping the film maintain the energy expected of a mainstream entertainer.
Acting Performances
Ayushmann Khurrana carries the responsibility of anchoring a story in which the protagonist himself is unaware of the truth. His established comic timing makes him a perfect fit for a character caught between conflicting identities and increasingly bizarre circumstances.

Sara Ali Khan as Yamini Thapar plays an important part, with her character's chemistry with Ayushmann adding another layer to the entertainment. 

Rahul Bose and Ram Kapoor bring their experience to the ensemble, while Gulshan Grover makes his presence felt despite limited screen time.

Late Mukul Dev, in his final screen role, is unique and adds to the ensemble's significance with his nuanced acting.

Suhail Nayyar perfectly supports main lead's character, Supriya Pilgaonkar and Brijendra Kala deliver decent acts, while Sandeep Anand, Raghubir Yadav, Parul Gulati, and Smita Tambe expand the film's flawless performance lineup.

Final Verdict
Udta Teer aims to entertain through an unusual premise, mistaken identities and a generous dose of comic chaos. Akash A. Kaushik's directorial debut favors commercial entertainment over real situations, with Ayushmann Khurrana and Sara Ali Khan leading a diverse ensemble. The film keeps the humor engaging and the narrative moving, even when its plot stretches credibility.

While its approach to logic may not appeal to everyone, audiences willing to embrace the madness will find plenty to enjoy. For those in the mood for a lighthearted spy comedy rather than a meticulously plotted thriller, Udta Teer promises a fun-filled theatrical experience.

Disclaimer: The views and opinions expressed in this article are those of the author and do not reflect the official policy or position of Pinkvilla. No statement in this article is intended to defame, harm, or malign any individual or entity.

Udta Teer - Official Trailer 2 | Ayushmann Khurrana & Sara Ali Khan | Akash Kaushik | 23 October

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Udta Teer

Udta Teer(2026)

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