Movie Name : Retro
Release Date : May 1, 2025
Cast : Suriya, Pooja Hegde, Jayaram, Joju George, Karunakaran, Nassar, Prakash Raj, Jayaram etc.
Director : Karthik Subbaraj
Music Director : Santhosh Narayanan
Telugumopo.com Rating : 2/5
Story:
Parivel Kannan (Suriya), known as Pari, is the son of gangster Tilak Raj (Joju George) and is pulled into his father’s violent world. But Pari dreams of a different life—a peaceful future with his love Rukmini (Pooja Hegde), far from crime. When he refuses to take part in his father’s shady deal, codenamed “Goldfish,” Tilak retaliates by threatening Rukmini. A violent fallout sends Pari to prison. After escaping, he heads to the Andaman Islands to find Rukmini, only to face more danger. Can he reunite with her? Will Tilak’s grip ever loosen? And what exactly is the “Goldfish” deal?
Review:
Suriya pours his heart into a film that doesn’t deserve him. His performance is magnetic—his intensity, his physical transformation, his screen presence—but the writing lets him down. You’re left wondering why an actor of his caliber signed onto such a confused project.
Pooja Hegde’s Rukmini had potential, but her performance falls flat. Her deglam look feels out of place, and she fails to bring emotional depth. Joju George, a powerhouse in Malayalam cinema, is wasted here. Prakash Raj plays a familiar role without freshness. Nassar’s character is barely relevant, while a young actor playing his son shows some promise. The rest of the supporting cast is passable.
Visually, Retro is stunning. Shreyaas Krishna’s cinematography is a highlight, delivering rich, stylish frames. Santhosh Narayanan’s background score adds punch and atmosphere, elevating scenes that otherwise fall flat. His songs, however, are forgettable. Production values are top-notch—but great visuals and music can’t save weak storytelling.
Director Karthik Subbaraj, once praised for his innovative narratives (Pizza, Jigarthanda), seems lost in style over substance. His focus on quirky presentation comes at the cost of clarity and coherence. The film jumps from gangster drama to romance to revenge thriller without seamless transitions. The “Goldfish” deal, initially set up as the plot’s core, fizzles out into irrelevance. The final act in Andaman, involving lords, slaves, and chaotic action, feels like a completely different film.
Meanwhile, Pari and Rukmini’s relationship arc falls into repetitive clichés: distancing, misunderstandings, forced reunions. The villains look menacing but lack depth. Every character seems to act irrationally—especially the bizarre antics of the Andaman lords (Nassar and the young actor).
You keep hoping the film will redeem itself in the second half, but it only grows more chaotic. Emotional beats don’t land. The narrative unravels. At nearly 2 hours and 45 minutes, Retro becomes an endurance test.
In the end, despite great music, visuals, and production values, Retro is style over substance. Karthik Subbaraj delivers a film lacking in story, character, and emotional depth—leaving audiences disappointed.
