Ikka reviews have arrived, and critics largely agree that Netflix‘s latest courtroom thriller is a classic case of a compelling premise being let down by inconsistent execution. Directed by Siddharth P. Malhotra, the legal drama brings together Sunny Deol and Akshaye Khanna in a battle of ideals, power and justice that promised to revive the Hindi courtroom genre. While reviewers praise the performances—particularly Akshaye Khanna‘s magnetic presence—and appreciate the film’s morally layered setup, the overwhelming consensus is that an increasingly melodramatic screenplay and an underwhelming second half prevent Ikka from becoming the gripping legal thriller it could have been.
Streaming on Netflix from July 10, Ikka follows Arjun Mehra (Sunny Deol), an undefeated celebrity defence lawyer celebrated for fighting only for those he believes are innocent. His principles are tested when he agrees to defend Shauryaman Gaur (Akshaye Khanna), the privileged son of an influential industrialist accused of sexually assaulting and attempting to murder a young woman. As buried personal relationships, political influence and uncomfortable truths surface inside the courtroom, Arjun finds himself trapped between professional ethics and deeply personal loyalties. Also starring Tillotama Shome, Dia Mirza, Sanjeeda Shaikh and Daria Bedi, the film attempts to balance legal suspense with emotional drama while exploring the complicated relationship between justice and truth.
If there is one aspect that has earned widespread praise, it is Akshaye Khanna’s performance. Across reviews, critics describe him as the film’s most compelling presence, bringing unpredictability, quiet menace and layered intensity to Shaurya. Several reviewers note that he dominates nearly every courtroom confrontation simply through controlled expressions and measured dialogue delivery, making audiences constantly question whether his character is guilty or misunderstood. However, Shilajit Mitra of The Hollywood Reporter India offers one of the few dissenting opinions, arguing that Khanna occasionally slips into familiar mannerisms and theatrical exaggeration, even remarking, “Your Honour, he is also overacting.” While that criticism stands out, it remains the exception rather than the rule, with most reviewers considering Khanna the film’s strongest asset.
Sunny Deol receives a far more divided response. Many critics welcome his restrained performance, noting that Ikka gives the veteran actor an opportunity to rely less on his trademark outbursts and more on quiet internal conflict. Several reviewers appreciate seeing Deol play a lawyer burdened by moral uncertainty rather than an invincible hero, and his courtroom exchanges with Khanna are widely regarded as the film’s dramatic backbone. Yet others believe the screenplay repeatedly falls back on familiar heroic tropes, preventing the actor from fully exploring the complexity of his character. Shilajit Mitra argues Deol is at his most effective during intimate conversational scenes rather than emotionally explosive speeches, while India Today feels the actor attempts to modernize his iconic courtroom persona but remains trapped inside a story that ultimately feels dated.
One of the pleasant surprises across reviews is Tillotama Shome, whose performance has earned near-universal admiration despite limited screen time. As public prosecutor Madhura, she brings intelligence, restraint and emotional credibility to the courtroom, creating an engaging counterbalance to both Sunny Deol and Akshaye Khanna. The Hollywood Reporter India particularly praises the decision to position Madhura as an equal participant in the legal battle instead of reducing her to a conventional supporting character, calling the pairing of Shome’s understated realism with Deol’s larger-than-life screen presence an inspired creative choice. Several critics, however, also agree that the screenplay never gives her character the narrative importance she deserves. Supporting performances from Sanjeeda Shaikh, Dia Mirza and Vijay Vikram Singh similarly receive appreciation for adding emotional weight to the proceedings.
The screenplay has emerged as the film’s biggest point of criticism. Reviewers acknowledge that writers Althea Kaushal and Mayank Tewari begin with a genuinely intriguing setup. Critics appreciate the decision to keep Shaurya’s guilt ambiguous through much of the first half while transforming the courtroom into a battle of conflicting perspectives rather than a straightforward clash between good and evil. Shilajit Mitra praises these early writing choices, noting that the legal conflict initially remains evenly balanced between defence, prosecution and the accused. But almost every major review argues that the promise gradually fades. Predictable courtroom twists, convenient revelations and increasingly melodramatic developments begin replacing the carefully constructed ambiguity that initially makes the story engaging.
This disappointment becomes the strongest point of agreement across publications. Sukanya Verma of Rediff memorably concludes that the film is “overruled by melodrama,” arguing that emotional excess eventually overwhelms the legal drama. India Today describes the screenplay as “dated and predictable,” while Shubhra Gupta of The Indian Express believes melodrama ultimately wins over meaningful courtroom tension. Nandini Ramnath of Scroll takes the criticism further by observing that the film often behaves as though Sunny Deol is simultaneously the defence lawyer and the prosecutor, manipulating its own arguments whenever convenient. Meanwhile, The Hollywood Reporter India argues that the second half loses its dramatic centre altogether, becoming tangled in convenient twists and ex-machina reversals before concluding that the film’s much-hyped “ace” ultimately feels “more like a nine of clubs.”
Beyond the screenplay, several critics believe Ikka reflects a broader problem within contemporary Hindi courtroom dramas. While South Indian cinema has recently produced inventive legal thrillers built around moral complexity and procedural authenticity, reviewers argue that Ikka frequently falls back on familiar Bollywood formulas. Hindustan Times criticizes the film for reducing Sunny Deol to another shouting courtroom hero while suggesting Akshaye Khanna repeats shades of performances audiences have already seen in recent years. Even critics who enjoyed the film acknowledge that it rarely reinvents the genre or fully explores the ethical dilemmas introduced in its opening act.
That said, the film isn’t without supporters. Saibal Chatterjee of NDTV offers one of the most positive reviews, describing the central love-hate legal battle between Sunny Deol and Akshaye Khanna as the film’s greatest strength and praising the emotional stakes underpinning their courtroom rivalry. Similarly, more favourable reviews appreciate the performances, courtroom confrontations and moral conflicts, even while acknowledging structural flaws. These positive voices prevent Ikka from being dismissed outright, but they remain outweighed by the broader critical consensus surrounding its screenplay.
Ikka isn’t a courtroom drama that fails because of its actors—it falls short because its writing cannot sustain the complexity it introduces. Critics largely agree that Siddharth P. Malhotra assembles a capable cast, with Akshaye Khanna delivering one of the film’s most compelling performances, Sunny Deol embracing welcome restraint, and Tillotama Shome making a lasting impression despite limited material. Yet the screenplay gradually exchanges layered moral conflict for familiar twists and melodrama, reducing what could have been an intelligent legal thriller into a more conventional courtroom entertainer. The result is a watchable Netflix drama elevated by its performances but ultimately overruled by its own writing.
Film Details: Ikka
Director: Siddharth P. Malhotra
Writers: Althea Kaushal, Mayank Tewari
Cast: Sunny Deol, Akshaye Khanna, Tillotama Shome, Dia Mirza, Sanjeeda Shaikh, Daria Bedi, Vijay Vikram Singh
Genre: Courtroom Drama, Legal Thriller
Platform: Netflix
Release Date: July 10, 2026
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