After back-to-back hits in the 80s and a long absence, Mohan is finally back in Haraa where he takes the role of a vigilante hero, a saviour and a villain all at once. Just like how his character travels far and wide to unravel the mystery around the death of his daughter, Nimisha, the plot too meanders all over the place, stumbling along the way.
Haraa centres around Ram (a) Ibrahim who is grieving the loss of his daughter after she dies by suicide. He goes on a mission to uncover secrets and avenge her death. In the first scene, Mohan heads out to look for clues. He gets inside an auto, speaks to two or three people, and then into an ambulance when he sees a few people following him. After this, he gets onto a bike. Similarly, the screenplay moves from one pointless scene to another, mostly in circles, sometimes in triangles and at moments, all over the place. The story takes Ram through a gritty criminal world mired in ugly politics and a plethora of complications that come along with it. Instead of unravelling it in a way that tests the knowledge of a discerning audience, it holds exposition as a crutch to drag its way through the plot, eventually killing suspense and other elements that would have made it much more interesting.