Pooja Bhatt’s steady hand is most evident with close ups, yet the film does not fully capture each arc of emotion that many scenes require. Kreem’s score seldom rises to the intensity of his earlier gems like Jism and Criminal, and actor Kher is underused. Fresh as the story is - and this one certainly packs plot novelties - what Dhokha may be most remembered for is, that Indian censors allowed the dramatisation of some of the most disturbing, widely distributed (if not actually shown), and horrifying visual images to emerge from the so-called war on terror.