Dhurandhar: A Gripping Dive into Shadows of Espionage
In the dimly lit underbelly of Bollywood's spy thriller resurgence, Dhurandhar emerges like a thunderclap – raw, unrelenting, and unapologetically patriotic. Directed by Aditya Dhar, the man who weaponized national pride with Uri: The Surgical Strike, this 2025 behemoth clocks in at a staggering 3 hours and 34 minutes, making it one of the longest Indian films in recent memory.
Yet, in an era where attention spans are shorter than a TikTok reel, Dhar dares you to look away. Starring Ranveer Singh in a career-redefining turn, flanked by a powerhouse ensemble including Akshaye Khanna, R. Madhavan, Sanjay Dutt, Arjun Rampal, and newcomer Sara Arjun, Dhurandhar isn't just a movie; it's a cinematic Molotov cocktail lobbed at the complacency of yesteryear's espionage flicks. Released on December 5, 2025, under Jio Studios and B62 Studios, it raked in ₹27 crore on its opening day, cementing its status as the second-highest opener of the year. But beyond the box-office bravado, does it deliver? Spoiler: Mostly yes, with a side of narrative indigestion.
The plot, loosely inspired by real-life covert operations of India's Research and Analysis Wing (RAW) – think Operation Lyari's crackdown on Karachi's mafia syndicates – unfolds against the grim backdrop of India's turbulent late '90s and early 2000s. We open with the gut-wrenching IC-814 hijacking in 1999, the Parliament attack in 2001, and the blood-soaked 26/11 Mumbai carnage in 2008. These aren't mere prologues; they're visceral gut punches, using archival footage and chilling audio recordings (yes, that infamous Chabad House call) to remind us of a nation's helplessness.
Enter Ajay Sanyal (R. Madhavan, all steely resolve and quiet fury), the Intelligence Bureau chief who greenlights "Operation Dhurandhar" – a high-stakes infiltration into Pakistan's Lyari underworld to decapitate terror networks funding cross-border atrocities.
At the heart is Hamza (Ranveer Singh), a brooding Indian agent with the codename "The Wrath of God." No, it's not a direct biopic of Ajit Doval (though whispers suggest heavy inspiration), but Singh channels the spy master's legendary grit. Hamza embeds himself in Karachi's gang-infested alleys, rising through the ranks of the fictional Rehman Dakait's (Akshaye Khanna) syndicate. What follows is a Shakespearean tapestry of betrayals, brutal gang wars, and moral quagmires.
Sanjay Dutt's enigmatic "The Jinn" – a shadowy fixer with a penchant for cryptic monologues – adds layers of intrigue, while Arjun Rampal's "The Angel of Death," a torturer whose scenes ooze menace, delivers the film's most shiver-inducing moments. Sara Arjun, as Hamza's conflicted love interest (a local journalist torn between loyalty and revelation), brings a touch of tenderness to the testosterone-fueled chaos, though her arc feels like an afterthought in this male-dominated saga.
Dhar's screenplay is ambitious to a fault – a sprawling epic that juggles geopolitical chess, personal vendettas, and pulse-pounding action across two parts (Part 2 drops March 19, 2026). The first half is a masterclass in tension-building: Hamza's transformation from a clean-cut operative to a Lyari hardliner is riveting, with Singh shedding his usual manic energy for a simmering intensity that's equal parts Gully Boy swagger and Bajirao ferocity. One standout sequence sees him navigating a high-stakes arms deal gone wrong, the camera (kudos to cinematographer Vikash Nowlakha) clinging to sweat-slicked brows and flickering shadows like a second skin.
The gore is unflinching – think severed limbs in dingy warehouses and drive-by executions that make Animal's violence look cartoonish – but it's purposeful, underscoring the dehumanizing cost of espionage.Akshaye Khanna, oh Akshaye Khanna – he doesn't just steal scenes; he hijacks the entire film. As the vulnerable yet vicious gangster Rehman, Khanna blends The Godfather's vulnerability with a predator's menace, his eyes conveying volumes that dialogue can't touch. A late-act confrontation between him and Singh crackles with unspoken history, the kind of actorly alchemy that elevates Dhurandhar from genre potboiler to something almost profound. Madhavan anchors the Indian side with understated authority, his Sanyal a charioteer of karma navigating bureaucratic red tape and ethical minefields.
Dutt and Rampal provide reliable firepower, though Rampal's intimidating physicality occasionally borders on caricature.Technically, Dhurandhar is a beast. Shashwat Sachdev's background score is the film's secret weapon – a pulsating heartbeat that swells from ominous drones to triumphant swells, seamlessly weaving in classic tracks like "Sandese Aate Hai" for maximum emotional whiplash. The VFX, from explosive set-pieces to gritty recreations of Karachi's labyrinthine slums, integrates flawlessly with practical effects, setting a new bar for Bollywood's spy genre. Production design immerses you in the era's dust and despair, though some contemporary touches (slick smartphones in a pre-iPhone timeline?) jar the authenticity. Dhar's direction, honed from Uri's precision strikes, favors long takes and immersive sound design over quick cuts, making every betrayal land like a sledgehammer.
But here's the rub: At over three-and-a-half hours, Dhurandhar tests endurance like a marathon in Mumbai humidity. The second half shifts gears into full-throttle action, with a political intrigue subplot giving way to mafia massacres and a climactic reveal that tees up the sequel masterfully. Yet, the pacing sags in the middle, bogged down by expository detours and a romantic thread that feels shoehorned in – Sara Arjun's character, likable as she is, deserved more than stolen glances amid gunfire.
Critics have dinged it for narrative inconsistencies and a chest-thumping nationalism that occasionally veers into propaganda (that "Naya Hindustan" line elicits cheers, but is it earned?). Reddit threads buzz with debates: One user raved about the "gore nicer than Bollywood's current standards," while another lamented Singh's "average" turn compared to his Padmaavat highs. it as "paisa vasool" with "mind-blowing BGM," but purists gripe about contrived twists. IMDb's 7.6/10 reflects this: A crowd-pleaser that doesn't always stick the landing.
For all its bloat, Dhurandhar grips like a vice. It's a film that doesn't just entertain; it provokes – forcing you to confront the rage of a nation pushed to the brink, the toll of shadows cast by real heroes like Doval. Singh's restrained ferocity signals a maturation, proving he can simmer without boiling over. In a year starved for bold swings, Dhar's vision – flaws, fireworks, and all – redefines the Indian spy thriller. Not flawless, but ferocious. Book your tickets; this one's worth the war of attrition. Just brace for the Part 2 cliffhanger that'll have you raging for more.
Rating: 8/10
Watch it for: Khanna's chilling apex predator, Sachdev's score that haunts your dreams, and a Gen Z audience rediscovering deshbhakti one gasp at a time.
Yet, in an era where attention spans are shorter than a TikTok reel, Dhar dares you to look away. Starring Ranveer Singh in a career-redefining turn, flanked by a powerhouse ensemble including Akshaye Khanna, R. Madhavan, Sanjay Dutt, Arjun Rampal, and newcomer Sara Arjun, Dhurandhar isn't just a movie; it's a cinematic Molotov cocktail lobbed at the complacency of yesteryear's espionage flicks. Released on December 5, 2025, under Jio Studios and B62 Studios, it raked in ₹27 crore on its opening day, cementing its status as the second-highest opener of the year. But beyond the box-office bravado, does it deliver? Spoiler: Mostly yes, with a side of narrative indigestion.
The plot, loosely inspired by real-life covert operations of India's Research and Analysis Wing (RAW) – think Operation Lyari's crackdown on Karachi's mafia syndicates – unfolds against the grim backdrop of India's turbulent late '90s and early 2000s. We open with the gut-wrenching IC-814 hijacking in 1999, the Parliament attack in 2001, and the blood-soaked 26/11 Mumbai carnage in 2008. These aren't mere prologues; they're visceral gut punches, using archival footage and chilling audio recordings (yes, that infamous Chabad House call) to remind us of a nation's helplessness.
Enter Ajay Sanyal (R. Madhavan, all steely resolve and quiet fury), the Intelligence Bureau chief who greenlights "Operation Dhurandhar" – a high-stakes infiltration into Pakistan's Lyari underworld to decapitate terror networks funding cross-border atrocities.
At the heart is Hamza (Ranveer Singh), a brooding Indian agent with the codename "The Wrath of God." No, it's not a direct biopic of Ajit Doval (though whispers suggest heavy inspiration), but Singh channels the spy master's legendary grit. Hamza embeds himself in Karachi's gang-infested alleys, rising through the ranks of the fictional Rehman Dakait's (Akshaye Khanna) syndicate. What follows is a Shakespearean tapestry of betrayals, brutal gang wars, and moral quagmires.
Sanjay Dutt's enigmatic "The Jinn" – a shadowy fixer with a penchant for cryptic monologues – adds layers of intrigue, while Arjun Rampal's "The Angel of Death," a torturer whose scenes ooze menace, delivers the film's most shiver-inducing moments. Sara Arjun, as Hamza's conflicted love interest (a local journalist torn between loyalty and revelation), brings a touch of tenderness to the testosterone-fueled chaos, though her arc feels like an afterthought in this male-dominated saga.
Dhar's screenplay is ambitious to a fault – a sprawling epic that juggles geopolitical chess, personal vendettas, and pulse-pounding action across two parts (Part 2 drops March 19, 2026). The first half is a masterclass in tension-building: Hamza's transformation from a clean-cut operative to a Lyari hardliner is riveting, with Singh shedding his usual manic energy for a simmering intensity that's equal parts Gully Boy swagger and Bajirao ferocity. One standout sequence sees him navigating a high-stakes arms deal gone wrong, the camera (kudos to cinematographer Vikash Nowlakha) clinging to sweat-slicked brows and flickering shadows like a second skin.
The gore is unflinching – think severed limbs in dingy warehouses and drive-by executions that make Animal's violence look cartoonish – but it's purposeful, underscoring the dehumanizing cost of espionage.Akshaye Khanna, oh Akshaye Khanna – he doesn't just steal scenes; he hijacks the entire film. As the vulnerable yet vicious gangster Rehman, Khanna blends The Godfather's vulnerability with a predator's menace, his eyes conveying volumes that dialogue can't touch. A late-act confrontation between him and Singh crackles with unspoken history, the kind of actorly alchemy that elevates Dhurandhar from genre potboiler to something almost profound. Madhavan anchors the Indian side with understated authority, his Sanyal a charioteer of karma navigating bureaucratic red tape and ethical minefields.
Dutt and Rampal provide reliable firepower, though Rampal's intimidating physicality occasionally borders on caricature.Technically, Dhurandhar is a beast. Shashwat Sachdev's background score is the film's secret weapon – a pulsating heartbeat that swells from ominous drones to triumphant swells, seamlessly weaving in classic tracks like "Sandese Aate Hai" for maximum emotional whiplash. The VFX, from explosive set-pieces to gritty recreations of Karachi's labyrinthine slums, integrates flawlessly with practical effects, setting a new bar for Bollywood's spy genre. Production design immerses you in the era's dust and despair, though some contemporary touches (slick smartphones in a pre-iPhone timeline?) jar the authenticity. Dhar's direction, honed from Uri's precision strikes, favors long takes and immersive sound design over quick cuts, making every betrayal land like a sledgehammer.
But here's the rub: At over three-and-a-half hours, Dhurandhar tests endurance like a marathon in Mumbai humidity. The second half shifts gears into full-throttle action, with a political intrigue subplot giving way to mafia massacres and a climactic reveal that tees up the sequel masterfully. Yet, the pacing sags in the middle, bogged down by expository detours and a romantic thread that feels shoehorned in – Sara Arjun's character, likable as she is, deserved more than stolen glances amid gunfire.
Critics have dinged it for narrative inconsistencies and a chest-thumping nationalism that occasionally veers into propaganda (that "Naya Hindustan" line elicits cheers, but is it earned?). Reddit threads buzz with debates: One user raved about the "gore nicer than Bollywood's current standards," while another lamented Singh's "average" turn compared to his Padmaavat highs. it as "paisa vasool" with "mind-blowing BGM," but purists gripe about contrived twists. IMDb's 7.6/10 reflects this: A crowd-pleaser that doesn't always stick the landing.
For all its bloat, Dhurandhar grips like a vice. It's a film that doesn't just entertain; it provokes – forcing you to confront the rage of a nation pushed to the brink, the toll of shadows cast by real heroes like Doval. Singh's restrained ferocity signals a maturation, proving he can simmer without boiling over. In a year starved for bold swings, Dhar's vision – flaws, fireworks, and all – redefines the Indian spy thriller. Not flawless, but ferocious. Book your tickets; this one's worth the war of attrition. Just brace for the Part 2 cliffhanger that'll have you raging for more.
Rating: 8/10
Watch it for: Khanna's chilling apex predator, Sachdev's score that haunts your dreams, and a Gen Z audience rediscovering deshbhakti one gasp at a time.
