The film's portrayal of the relationship between Amar (Shah Rukh Khan) and Meghna (Manisha Koirala) is a prime example of the changing perceptions of consent and boundaries. In scenes that were seemingly brushed aside at the time, Amar's persistent advances on Meghna, even when she is clearly resisting, now come across as deeply unsettling and inappropriate. What might have been perceived as romantic persistence then is, by today's standards, a stark violation of consent. Their chemistry, or lack thereof, is painfully evident, making it impossible to invest in their supposed love story. Amar's behavior is not of a hero but of a creep who thinks he is a hero.

The film's music, composed by A. R. Rahman, is perhaps the only redeeming factor, but even that is overshadowed by the disjointed placement of songs that disrupt any semblance of pacing. The much-hyped song "Chaiyya Chaiyya" is the only memorable element, and it has more to do with its choreography on a moving train than the film itself.