Suriya Falters with a Dull and Disjointed Gangster Drama

Cast: Suriya, Joju George, Pooja Hegde, Prakash Raj, Jayaram, and others

Director: Karthik Subbaraj

Rating: 1.5/5 stars

After the disappointment of Kanguva, Suriya returns with another ambitious project—this time a gangster saga set in the 1960s. Unfortunately, Retro turns out to be yet another misfire, weighed down by a flimsy plot and sluggish narration.

Billed as a mix of “Love, Laughter, and War,” the film fails to resonate on any of those fronts. What we get instead is a confused mishmash of genres that lacks emotional depth or narrative cohesion.

Suriya plays a troubled soul, scarred by a traumatic childhood and the loss of his beloved mother. As he grows into an angry young man, violence becomes his default mode—until Pooja Hegde’s character enters his life. Her presence inspires him to change, to renounce violence and seek peace. But fate has other plans. Their love story is cut short by separation, and the emotional weight of this turning point never quite lands.

Karthik Subbaraj’s idea of transforming a brooding gangster into a jester of sorts—someone who makes others laugh—may have sounded promising on paper. But the execution falters badly. The pacing drags, and the storytelling lacks conviction. Even the chemistry between Suriya and Pooja fails to ignite, despite the romantic core of the film. Barring a few tender moments, this is just another formulaic redemption arc that doesn't offer anything new.

Joju George, known for powerful performances in films like Irratta and Pani, is reduced to a loud caricature here. His character shouts more than he speaks and never rises above a single emotional note. Other supporting actors like Prakash Raj and Jayaram, who plays a doctor-turned-comic relief, are equally underutilized, with the latter’s jokes falling flat more often than not.

The film opens with a narrative about Lord Krishna and quickly introduces us to the gangster Thilagan (Joju George) and his wife Sandhya. A boy born to Krishna Jayanthi is taken in by the couple, and no points for guessing—it’s Suriya’s character. The story then follows a predictable father-son conflict arc, culminating in a violent confrontation on a wedding day and a stint in prison.

To his credit, Suriya gets the look and physicality of an '80s gangster spot-on. He delivers a sincere performance, but the lackluster script and direction give him little to work with. Pooja Hegde looks the part in her retro avatar and has a few graceful moments, but she’s ultimately sidelined.

There is a technically impressive long take set in a wedding hall, where multiple characters and conversations unfold against the backdrop of songs and celebrations. It’s a glimpse of the flair Karthik Subbaraj once showcased in films like Pizza and Jigarthanda. Unfortunately, that spark is mostly missing here.

In the end, this is a confused, underwhelming film that fails to live up to the expectations set by its cast and director. Despite some isolated moments of visual or emotional appeal, it lacks the tight storytelling and character depth needed to truly engage its audience.