Retro reviews say Suriya powers a visually striking but overstuffed gangster romance

Karthik Subbaraj’s Retro has sparked mixed reactions, with many applauding its grand vision and Suriya’s magnetic performance, even as the film struggles to balance style and substance. It’s a throwback in form and name, but with a narrative that jumps decades, from sepia-toned memories to blood-soaked confrontations.

At its core, Retro tells the story of Paarivelkannan (Suriya), an orphan marked by fate and forged in violence. Raised in a gangster household, his life takes an unexpected turn when love enters in the form of Rukmini (Pooja Hegde). The film teases a redemptive arc, can a man born into chaos escape it, or is violence his destiny?

The premise is promising, and early reviews call out the film’s opening stretch, including a single-take sequence set to the pulsating track Kanima, as a masterclass in visual storytelling. But as the narrative unfolds, spanning eras and ideologies, some critics felt Retro tried to pack in too much: philosophy, politics, and a love story, all jostling for space.

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Suriya, however, remains the film’s strongest anchor. Critics say he brings fire and finesse to a layered character, vulnerable one moment, lethal the next. Joju George, playing his foster father and tormentor, delivers a gritty performance, while Pooja Hegde lends grace to her role, though reviewers wished her arc had more bite.

Technically, the film dazzles. Santhosh Narayanan’s music pulses with energy, and Subbaraj’s signature style, full of meta references and visual flair, keeps things visually engaging. But not everyone is convinced. Some reviewers say the screenplay gets lost in its own ambition, especially in the second half, where narrative detours dilute the emotional stakes.

Still, Retro is being recognised for its boldness. It’s not your typical gangster flick, it wants to say something bigger, about legacy, love, and letting go. Even if it doesn’t always hit the mark, critics agree that it’s the kind of messy, maximalist cinema that doesn’t come around often.

As one review summed it up: “Retro is a film that swings for the fences. It may not always land, but it’s impossible to look away.”