I consider Shanghai as Dibakar Banerjee's first lukewarm film after his enthusiastic three back-to-back films filled with humor. I don't know why he chose to make a film of such a subject and decided to present it in a grim tone. Dibakar's Love, Sex aur Dhokha also had emotionally appealing scenes, but that movie was not entirely shouldered on that sequences. Opposite to such sequences, Love, Sex Aur Dhokha, tried to made audiences laugh, with a new inventive method of humor and proved to some extent successful. Shanghai's story focuses on a team of activists opposing a duo of high level politicians who wants to grab poor colonies of residences of poor class, and wants to create Sky-Scrappers in it's place, so it makes the city look like 'Shanghai'. The movie tries to create tension when the main activist is intentionally injured fatally and the consequences that follow. But since the film does not wishes to create suspense in it's story, the thrill factor seems to become diminishing as we approach the end. Shanghai is a finely furnished film, especially in performances, and especially by Abhay Deol, but when we're seated watching, we feel that we know all this already don't we. Which is, the movies having corrupt politicians and their smart plans to grab out what they want, and finish off what comes by in way, by hiring pet assassins' - who also get disappeared from politicians' way, once they feel like ending the assassins' job. It is not so that Diabakar Banerjee has presented this film without any effort. You can observe a sense of realism whiling watching, evernthough the subject already familiar to us. For realism, there is a scene in the film, where a wife is called by police to witness her husband's death, which police claim to be an accident, but which clearly isn't so, as the film shows itself. What lacks in Shanghai is the style in which Dibakar Banerjee had represented his previous three films. Dibakar Banerjee, is one of the promising parellel cinema director, but through this film, doubts arise. And so, it is not presented in a style resembling Dibakar's earlier films - which was thrilling, this films feels to leading towards a docu-drama approach. And I would watch a good documentary on politician conspiracies, then I would watch a film which is taglined as a Thriller, but which when watched, does not feels like one. Emraan Hashmi may be a good choice to select to play, but he feels too new to the world of Intense cinema, although giving an O.K performance. Farooq Sheikh returns as that old pure (unenglished) hindi speaking character, who throws his lines smart and naturally, like other old actors, like Rushi Kapoor. But, only good performances do not make thrillers. And the weakest portions, from the already weak unthrilling pace of the films, is its unconvincing climax, which shows descriptions in white letter - which are usually found in documentary films. For thriller films such climaxes which simply would show informative descriptions have rarely proved to be successful. I am certain about this film.