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A criminal Raghavan, (Manoj Bajpai) who is a master at disguises, thanks to his psycho brother Mahadevan (KK Raina), succeeds in killing the minister whom Manu is supposed to safeguard. Once the defence minister is dead, the killer sets his eyes on the Prime Minister. The chief of security, Manu Verma, becomes a man obsessed with capturing Raghavan. Nothing matters to him now except his prey. Manu Verma digs deeper into the heart of darkness. And, one fine day, catches his prey. Then he takes Raghavan back to stand trial for his crimes. When the master of disguises tries to escape, he kills him as well. Here, the story takes a twist. Raghavan enters Manu's body and commits murders one after another. There are a couple of sequences wherein the viewer is completely confused and cannot fathom as to what is going on.
Amitabh Bachchan and Manoj Bajpai come out with superlative performances. Mehra's handling of several sequences deserves kudos. The scenes between Amitabh and Manoj Bajpai have been shot with elan. The one that can be singled out is when Amitabh physically assaults Nandita Das. The cinematography (Kiran Deohans) can easily be compared with the best of international cinema. The action sequences are well executed and the picturisation of the songs are different and imaginative.
If you don't believe in the supernatural, you'll probably dispel the concept of the film. Ezekiels
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Big B is back with a thriller that defies logic. Manu Verma (Amitabh Bachchan) is in charge of the security of defence minister Amol Palekar. The story begins in Budapest. The Indian defence minister is on, what seems to be, a routine foreign visit. However, the truth of the matter is that there is a hidden agenda behind the smiles and the handshakes.
Raveena Tandon plays the role of a bewitching stripper and she is at her glamorous best. Nandita Das is a typical cop-wife and is very natural. 
Now the million-dollar question is - why is the film called Aks or reflection? Simply because when Amitabh Bachchan has Manoj Bajpai's ghost inside him, he sees Bajpai in the mirror! The story stagnates towards the end. What could've been conveyed effectively in two hours has been stretched without cause, thereby diluting the impact of the film. One of the keenly anticipated films, Aks, is a superior product technically speaking, but falters in that one vital department - story-telling.
