Dhurandhar: The Revenge (2026) Movie Review – Ranveer Singh, Arjun Rampal & Sanjay Dutt in Aditya Dhar's Epic Spy Saga | CharotarDaily.com

Watch on YouTube

Dhurandhar: The Revenge (2026) Movie Review – Ranveer Singh, Arjun Rampal & Sanjay Dutt in Aditya Dhar's Epic Spy Saga | CharotarDaily.com

---

The Critic’s Prelude

Walking into the theater for Dhurandhar: The Revenge, I didn't just bring a notebook; I brought a level of skepticism. As the founder and chief critic of CharotarDaily.com, I’ve seen the "nationalist" wave hit Bollywood with everything from Uri to Animal. But a 229-minute runtime? A budget that rivals global blockbusters? A story that dares to blend the trauma of 26/11 with the clinical precision of a spy thriller? This wasn't just a movie; it was an endurance test of cinematic ambition.

Aditya Dhar, the man who redefined the "surgical strike" genre with Uri, returns here to close his duology. But where Uri was a precise scalpel, Dhurandhar: The Revenge is a sledgehammer. It is louder, darker, and significantly more violent. Below, I deconstruct whether this sprawling epic succeeds as a piece of art or simply functions as a high-budget exercise in persuasion.

---

1. Direction – Aditya Dhar’s Obsession with Scale

If there is one thing Aditya Dhar excels at, it is geographical immersion. He doesn't just film a scene; he builds a world. From the rustic, tragedy-laden lanes of Pathankot to the claustrophobic, grime-streaked alleys of Lyari in Karachi, Dhar’s direction is breathless.

Specific Analysis: Consider the sequence where Hamza (Ranveer Singh) manipulates the Baloch and Pathan gangs into a street war. Dhar doesn't rely on quick cuts; he uses expansive wide shots that capture the chaos of the city, making the urban environment a character in itself. His ability to coordinate large-scale action—specifically the climax involving the kerosene tanker explosion—is technically peerless. The explosion isn't just a "bang"; it's a meticulously timed sequence of fire and fury that feels visceral.

However, Dhar’s ambition is also his Achilles' heel. The film’s nearly 4-hour runtime is a gamble. While the second half is an electric ride, the first half often lingers too long on geopolitical exposition. In Uri, Dhar knew exactly when to cut; here, he seems enamored with his own canvas, occasionally mistaking "length" for "depth."

---

2. Cinematography – The Visuals of Dual Identities

Cinematographer Vikash Nowlakha captures the dichotomy of the protagonist’s life with stunning precision. There is a sharp visual contrast between the two "worlds" of the film:

• The Past (Pathankot): Saturated with earthy tones, warm sunlight, and a sense of lost innocence. The scenes depicting Jaskirat’s family tragedy are shot with a raw, handheld intimacy that makes the violence feel personal and sickening.
• The Present (Karachi/Kabul): A cold, steel-grey and neon-blue palette. The lighting in the Lyari sequences is oppressive, mirroring the tension of an undercover agent who is always one breath away from being exposed.

One particular shot that stands out is the same-frame transition between Jaskirat’s memory and Hamza’s reality. The way the camera glides from a childhood home in Punjab to a safehouse in Karachi is a masterclass in visual storytelling, illustrating that while the man changed his name and face, the trauma remains the anchor of his soul.

---

3. Screenplay – A Risky Blend of Fact and Fiction

The screenplay, written by Dhar, is an audacious attempt to weave real-world events—like the 2016 demonetization and Operation Lyari—into a fictional revenge arc.

The Triumph of Structure

The division of the film into seven chapters (from "A Burnt Memory" to "Dhurandhar") gives the movie a novel-like progression. It prevents the massive runtime from feeling like a shapeless void. The "Trial by Fire" chapter, in particular, is a high-tension masterclass in suspense, where the stakes are shifted from national security to personal survival.

The Problem of "Propaganda"

As a critic, I cannot ignore the elephant in the room: the political framing. The film doesn't just tell a story; it pushes a narrative. While the dialogue "Ye naya Hindustan hai" (This is the new India) is designed to elicit whistles in a theater, it occasionally slides into caricature. By blending real political figures and events, the film risks crossing the line from "inspired by truth" to "manipulating truth." There are moments where the screenplay prioritizes the "nationalist high" over the nuanced development of the characters, making the antagonists feel like one-dimensional villains of a propaganda reel rather than complex human adversaries.

---

4. Performances – A Battlefield of Talent

Ranveer Singh as Hamza / Jaskirat

Ranveer Singh is the engine that keeps this 229-minute beast moving. Playing a dual identity is a trope, but Ranveer avoids the clichés. As Jaskirat, he is vulnerable, broken, and driven by a primal grief. As Hamza, he is a predator—calculated, cold, and terrifyingly efficient. His physical transformation is evident, but it's his eyes that do the heavy lifting; the shift from the warmth of a brother to the ice of a spy is seamless. This is arguably his most disciplined performance to date.

Arjun Rampal as Major Iqbal

Rampal is the perfect foil. While Ranveer is fire, Rampal is ice. His portrayal of Major Iqbal is understated and menacing. He doesn't need to scream to be scary; his stillness is what creates the tension. The chemistry between him and Ranveer during the final confrontation is electric, providing the film with its most grounded emotional conflict.

Sanjay Dutt as SSP Chaudhary Aslam

Sanjay Dutt brings his trademark gravitas. His presence adds a layer of "old-school" authority to the police procedural elements of the plot. While his arc feels slightly abrupt, his screen presence is undeniable.

Rakesh Bedi as Jameel Jamali

The surprise MVP of the film. Bedi provides the essential emotional and comedic breathing room. His line, "Mera Baccha Hai Tu," is not just a meme-worthy moment; it represents the only genuine warmth in a film otherwise drenched in blood. He anchors the film’s heart, ensuring it doesn't become a purely mechanical exercise in violence.

---

5. Comparative Analysis – The "Dhar" Evolution

When we compare Dhurandhar: The Revenge to Uri: The Surgical Strike, we see a director who has moved from precision to excess. Uri was a lean, focused military thriller. Dhurandhar is a sprawling crime saga.

In terms of genre, it sits somewhere between the gritty realism of Sicario and the hyper-masculine violence of KGF 2 or Animal. It adopts the "alpha-male" energy of modern Indian cinema—where violence is aestheticized and the hero is an unstoppable force of nature. However, unlike Animal, which is a study of toxicity, Dhurandhar frames its violence as a patriotic necessity. It is a fascinating, if polarizing, evolution of the Indian "Spy-Universe" aesthetic.

---

6. Final Verdict

Rating: ★★★½ (3.5 / 5)

Dhurandhar: The Revenge is a cinematic paradox. It is a brilliantly executed piece of technical filmmaking that is occasionally crippled by its own ideological loudness.

The Good: Breathtaking direction, a career-best performance from Ranveer Singh, and an immersive atmosphere that makes you feel the humidity of Karachi and the cold of Kabul. The action is not just "mass"; it is choreographed with a level of detail rarely seen in Bollywood.

The Bad: A bloated runtime that requires a more ruthless edit, and a narrative that occasionally prioritizes political signaling over storytelling nuance. The "A" rated violence is staggering, and while some find it cathartic, others may find it excessive.

Ultimately, Aditya Dhar has created a spectacle that is impossible to ignore. Whether you view it as a masterpiece of patriotic cinema or a piece of high-budget propaganda, you cannot deny the sheer craftsmanship on display.

---

7. Who Should Watch This?

• The Action Junkies: If you crave high-stakes espionage, brutal hand-to-hand combat, and massive explosions, this is your goldmine.
• Ranveer Singh Fans: To see an actor fully commit to a role both physically and psychologically, this is a must-watch.
• Students of Cinema: For those interested in how to handle scale, pacing, and atmospheric lighting in a big-budget production.
• The "Nationalist" Cinema Buffs: If you enjoyed the adrenaline rush of Uri and the swagger of Pathaan, this is the logical next step.

Avoid if: You have a low tolerance for extreme gore, or if you prefer tight, 2-hour narratives over 4-hour marathons.

---

I, Rasesh Patell, founder and chief critic of CharotarDaily.com, believe that cinema should provoke thought as much as it provides entertainment. Dhurandhar: The Revenge does both—though it may leave you with a headache from the volume and a conflicted heart regarding its politics. Let me know in the comments: Is this a patriotic triumph or an ideological tool? Let's discuss.

---