Anupama Chopra who complained in her review that Dhurandhar film was “testosterone-heavy,” marked by “shrill nationalism,” and “anti-Pakistan narratives”, faced strong pushback online. After getting roasted left, right and centre, Anupama Chopra, made her review video private on her channel.

Shortly after this development, the Film Critics Guild (FCG) released an official statement condemning “targeted attacks, harassment, and hate” directed at film critics.

The statement read, “The Film Critics Guild (FCG) strongly condemns the targeted attacks, harassment, and hate directed toward film critics for their reviews of Dhurandhar. What began as disagreement has rapidly devolved into coordinated abuse, personal attacks on individual critics, and organised attempts to discredit their professional integrity. In recent days, several of our members have faced intimidation, including direct threats and vicious online campaigns aimed at silencing their perspectives, simply for expressing their professional assessment of a film. More concern­ingly, there have been attempts to tamper with existing reviews, influence editorial positions, and persuade publications to alter or dilute their stance. This comes on the back of frequent devaluing and ridiculing of film criticism by a broad spectrum of industry players in the recent past. Such interference strikes at the core of independent film criticism and undermines the editorial autonomy that a functioning cultural ecosystem relies upon. This willingness to police opinion sets a dangerous precedent. Claims that professional film critics have a bias or a political axe to grind are unsubstantiated and malicious. Film critics cannot be intimidated for doing their jobs, just as criticism cannot and should not be reduced to a one-line social media reaction or expected to align with promotional narratives. We are also deeply concerned about the safety and well-being of our colleagues from across the country. No professional should be subjected to personal vilification simply for doing their job. We urge the public, the industry, and all stakeholders to recognise that liking or disliking a film is your right but expecting critics to fall in line is not. This moment demands collective reflection. At stake is more than a single film. The integrity of cultural discourse depends on the ability of critics to speak freely and without fear. We call for restraint, respect, and a commitment to the principles that allow art, debate, and criticism to coexist.”

Official statement from the Film Critics Guild on the targeted attacks and harassment faced by film critics and journalists this week. The Guild strongly condemns this behaviour and stands in solidarity with our colleagues. pic.twitter.com/R3ltKUkfFo

— Film Critics Guild (@theFCGofficial) December 11, 2025

The statement, while not naming any critic, positioned the Guild as a neutral body defending the principle of independent criticism.

But here’s where the story takes a truly comedic turn.

The Film Critics Guild’s statement strikes a lofty tone about “independent criticism,” “safety of journalists,” and “silencing of perspectives.” It reads like a grand defence of the noble profession.

Except… the person at the centre of the backlash, the reviewer who removed her own Dhurandhar review, and the individual allegedly facing the heat is also the one heading the very organisation issuing this moral lecture.

Yes.
The Managing Committee of the Film Critics Guild is chaired by

Drumroll…

Anupama Chopra herself!

So, since Anupama Chopra couldn’t shield herself from criticism, she has made use of the Guild she helms, to release a solemn statement essentially saying:

“Don’t criticise Anupama.”
Signed,
Anupama.

This statement was shared by another leftist film critic who got upset with India entering the homes of the enemy and striking it down.

The entire episode reads less like a defence of free speech and more like a professional panic button pressed from the top floor.

When the critic becomes the criticised, and the organisation she leads issues a public decree against criticism, the irony does not just write itself, it performs a standing ovation.

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The post Leftist ‘Aman Ki Asha’ Film Critic Anupama Chopra Pulls Down Her Dhurandhar Review After Getting Roasted By Netizens, Then Her Film Critics Guild Condemns Criticism Of Critics appeared first on The Commune.

In a recent online discussion that blurred the lines between film critique and public relations therapy, YouTuber and alleged film critic Sucharita Tyagi found herself in an intense conversation with the makers of the controversial film ‘Dhurandhar’. The core of the exchange, which has since gone viral, centered not on cinematic merit, but on Tyagi’s palpable distress over the fierce public backlash against her and other critics’ reviews of the patriotic film.

Speaking during a group discussion with fellow reviewers, Tyagi said the “disproportionately low” view count compared to the “massive number of angry comments” on YouTube and other platforms made her question whether the responses were coming from real viewers. She floated the idea, briefly, that some individuals may be “designated” or “deployed” to target film critics, though she immediately added that she does not believe the filmmakers themselves would be involved.

Nonetheless, her insinuation that director Aditya Dhar may have “hired people” to troll critics did not go unnoticed, even though she backtracked moments later. Tyagi framed her concern as a question of responsibility, asking whether Dhar should “address” the people who were aggressively defending the film and attacking reviewers like her.

The conversation, which quickly began circulating on social media, was widely mocked as a “cope session” by netizens, who argued that the backlash to her review, described by many as overly sympathetic to Pakistan and dismissive of the film’s themes, reflected genuine public sentiment rather than an organised campaign.

UNBELIEVABLE COPE: Sucharita wants @AdityaDharFilms to “address” the fans of the movie who are exposing movie critics like her!

She even suggests at one point that Aditya Dhar has ‘hired’ people to troll movie critics like her. She quickly says she does not believe the… https://t.co/YZrKMFaeI8 pic.twitter.com/yQN8Am3C0i

— Sensei Kraken Zero (@YearOfTheKraken) December 9, 2025

Critics noted that Tyagi, along with several other reviewers, has disabled comments on her review videos following the pushback. Tyagi suggested this behaviour from viewers was creating a hostile environment for critics and asked whether filmmakers should intervene when their fans go “too far.”

Social media users, however, saw the exchange differently. Many argued that reviewers were unable to accept that “regular audiences simply disagreed with them” and accused the critics of constructing conspiracy theories to avoid admitting that their interpretations of Dhurandhar were out of touch with public sentiment.

This “group therapy” was seen as ‘unbelievable cope’ by netizens because Dhurandhar’s audience rejected their reviews. Others pointed out that Tyagi’s own framing, suggesting a coordinated attack while simultaneously denying it, was contradictory and only fuelled the perception that critics were unwilling to acknowledge the widespread criticism of their takes.

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The post Film Critic Sucharita Tyagi Holds Group Therapy To Cope With People Slamming Their Pakistan-Apologetic Review Of Dhurandhar appeared first on The Commune.

Aditya Dhar’s spy thriller Dhurandhar has stormed the box office and delivered a knockout punch to India’s perennial peace-with-Pakistan lobby and their cheerleaders in the liberal commentariat. Within days of release, the usual suspects – from The Wire to Anupama Chopra and Sucharita Tyagi – have gone into full meltdown mode, clutching pearls over “shrill nationalism,” “too much testosterone,” and the cardinal sin of showing Pakistan’s terror establishment exactly as it behaves: crass, indulgent, and dripping with bloodlust.

The Wire’s reviewer, in a piece that reads like a paid advertisement for Aman ki Asha, whines that the film “is as subtle as a troll” and takes grave exception to the portrayal of Pakistan’s “terror world.” Apparently, showing ISI officers as sleazy, chain-smoking, paan-spitting conspirators who fund slaughter in Mumbai is now considered Islamophobic fiction in certain enlightened circles. One almost expects the reviewer to demand a trigger warning for the 26/11 montage – you know, the one that uses actual news footage of the attack that Pakistan’s Deep State orchestrated and still refuses to acknowledge.

Film critic Anupama Chopra, never one to miss a chance to signal virtue, slammed the movie for its “inflammatory anti-Pakistan narrative” and complained that it is overloaded with “too much testosterone.” One wonders what exactly Madame Chopra expected from a film about RAW agents hunting terrorists: Katrina Kaif and Ranveer Singh sipping oat-milk lattes in Karachi while discussing gender fluidity with LeT commanders?

YouTuber Sucharita Tyagi took particular offence at the film’s “aggressive hyper-masculinity” and “hardcore nationalism.”

Visibly agitated in her review, she objected to the cinematic crime of depicting Pakistani politicians and ISI officers as “crass and indulgent” – as if the real ones are renowned for their monastic restraint and Gandhian simplicity.

But the real trigger, it seems, was Aditya Dhar’s audacity to weave in real audio recordings of the 26/11 handlers and actual news footage from both the 2001 Parliament attack and the Mumbai massacre. Tyagi frets that this “blurs the line between fiction and fact” and might lead the audience to believe “everything in the film is factual truth.” Pray tell, which part isn’t? That Pakistani terrorists carried out 26/11? That their handlers were calmly giving kill orders over phone from Karachi? That the ISI has never been held accountable? The only thing blurred here is the line between criticism and denialism.

The film ends, unapologetically, with the now-iconic line: “Ye Naya Hindustan Hai. Ye ghar mein ghus ke marega bhi.”

Sucharita Tyagi unable to cope with the aggressive attitude of India towards its enemies who keep sending terrorists across the border to murder sleeping children, train commuters, and pilgrims, says “Beneath the adrenaline, I continuously felt an unmistakable unease. Something sinister hums under the surface. I can’t quite articulate it yet. Perhaps my thought may become clearer when part 2 of this film comes out in April. But you best believe that something nefarious is afoot when the film chooses to end with “Ye Naya Hindustan Hai, Ye Ghar Mein Ghusega Bhi Aur Marega Bhi”

If Pakistan and its loyal Indian proxies are rattled, Operation Dhurandhar is already successful.

Check out this thread below for more meltdowns.

Dhurandhar melt down Thread

CBFC is Hypocrite guys pic.twitter.com/NiL5Y3WGSt

— Monica Verma (@TrulyMonica) December 6, 2025

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The post Operation Dhurandhar Successful: ‘Aman Ki Asha’ Apologists Suffer Meltdown, Upset At “Anti-Pakistan Narrative” And “Hardcore Nationalism” appeared first on The Commune.

The much-anticipated trailer for Dhurandhar, the latest adrenaline-pumping thriller from director Aditya Dhar, dropped like a precision strike on 18 November 2025.

Starring Ranveer Singh as a covert operative diving into Pakistan’s terror underworld, the trailer pays tribute to India’s unsung intelligence heroes who operate in the shadows, risking everything to keep the country safe.

But while the public embraced this unapologetic depiction of India’s silent warriors, one man could not handle it.

Dhruv Rathee got triggered.
Badly.

The Pro-Congress, Pro-AAP, Leftist Propaganda YouTuber erupted on social media, comparing the trailer’s violence to “ISIS beheadings,” blaming the filmmaker’s “lust for money,” and warning that Aditya Dhar was “poisoning young minds.” The performance was less film critique and more melodramatic meltdown.

Aditya Dhar has truly crossed a limit of cheapness in Bollywood.

The extreme violence, gore and torture shown in his latest film trailer is the equivalent of watching ISIS beheadings and calling it “entertainment”.

His lust for money is so unhinged that he is willingly…

— Dhruv Rathee (@dhruv_rathee) November 18, 2025

But why did this film, out of all the violent content Rathee has consumed, praised, and even promoted, send him into such hysterics?

Simple:
Dhurandhar shows Pakistan’s ISI exactly as it is — and Rathee cannot digest it.

A Brief Scene Exposes ISI Brutality — And Dhruv Rathee Panics

A short sequence in the trailer shows an Indian asset being tortured by an ISI handler. It’s disturbing, yes. Because it should be. Because this is the reality of Pakistan’s deep-state black sites. Because dozens of Indian operatives have endured unspeakable brutality in enemy territory.

Yet Dhruv Rathee behaves as though Aditya Dhar invented this cruelty for shock value.

This is the same man who happily accepted money from Netflix India to promote Gangs of Wasseypur, a gore-drenched epic filled with cleaver attacks, bullet-ridden bodies, rape threats, chopped limbs, and graphic revenge killings. He called it “essential viewing.”

But now suddenly, a few seconds of violence in Dhurandhar are “ISIS-level”?
Now suddenly he wants censorship?
Now suddenly he cares about “young minds”?

No.
He cares about something else entirely: who the villain is.

When violence exposes the ISI—Rathee’s selective conscience wakes up.

Dhurandhar Shows the ISI’s True Face And Glorifies India’s Intelligence Agents

For years, Dhruv Rathee’s content has followed a predictable pattern: downplay Pakistan’s role in cross-border terrorism, amplify “nuance,” and shift responsibility onto India’s “aggressive nationalism.” Every terror incident becomes a moral lecture about diplomacy, politics, and “both sides.”

Dhurandhar demolishes that façade in two minutes.

It shows:

The ISI as a terror-enabling deep state.

Pakistan’s soil as a breeding ground for jihadist networks.

Indian agents as patriots who infiltrate and disrupt these networks.

Intelligence operations as the backbone of India’s defence—not propaganda.

For Rathee, whose digital brand thrives on obscuring Pakistan’s complicity and magnifying India’s faults, this is a narrative nightmare.

An Ajit Doval-inspired character played by R. Madhavan could only intensify his discomfort.

No wonder he’s triggered.

Outrage Is Also About His Pakistani Fan Base

Here’s a factor rarely discussed, but impossible to ignore:

Dhruv Rathee enjoys a massive following in Pakistan.

His videos routinely trend on Pakistani YouTube.
Pakistani influencers frequently amplify his content.
Pakistani Twitter circles treat him as a credible counter-narrative to Indian media.

And why wouldn’t they?
Rathee’s commentary has consistently framed India as the villain and Pakistan as the misunderstood neighbour.

So when Dhurandhar openly showcases Pakistan’s ISI as the architect of terror, Rathee is not just reacting for himself — he is reacting for an entire foreign audience that sees him as their ideological spokesman.

A film that exposes the ISI hurts the very demographic that forms a significant chunk of his international viewership.

Of course he’s uncomfortable.
Of course he’s triggered.
He can’t risk upsetting the ecosystem that treats him like a hero for bashing India and whitewashing Pakistan.

His meltdown has nothing to do with gore.
It has everything to do with:

~a film that unmasks Pakistan’s deep state,

~a trailer that disrupts his ideological narrative,

~a portrayal of Indian strength he cannot reconcile with,

~and a Pakistani audience he cannot afford to disappoint.

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The post Aditya Dhar’s Dhurandhar Trailer Shows Pakistan ISI’s Wrongdoings, Dhruv Rathee Gets Triggered appeared first on The Commune.

The makers of director Lokesh Kanakaraj’s eagerly awaited action thriller ‘Coolie’, featuring Superstar Rajinikanth in the lead, on Thursday revealed the name and look of Bollywood star Aamir Khan’s character in the film.

Taking to its X timeline, Sun Pictures, the production house that is producing the film, released Aamir’s name in the film and wrote, “#AamirKhan as Dahaa, from the world of #Coolie. #Coolie is all set to dominate IMAX screens worldwide from August 14th.” Aamir Khan’s look in the film too looked sassy, with the actor seen smoking a pipe.

For the unaware, Aamir Khan plays a cameo in the film. It may be recalled that only a week ago, the production house had changed the title of the Hindi version of the film from being ‘Majdoor’ to ‘Coolie The Powerhouse’.

‘Coolie’, which is expected to be an action thriller, will, apart from Rajinikanth and Aamir Khan, feature a number of top stars including Telugu star Nagarjuna, Kannada star Upendra, Malayalam star Soubin Shahir and Tamil star Sathyaraj.

The film will also feature actors Shruti Haasan, Rebe Monica John, and Junior MGR in pivotal roles. Music for the film is by Anirudh Ravichander and cinematography is by Girish Gangadharan. The film is being edited by Philomin Raj and produced by Kalanithi Maran’s Sun Pictures. The film is keenly awaited as it will feature actors Sathyaraj and Rajinikanth together after almost 38 years.

The two were last seen together in the superhit Tamil film ‘Mr Bharath’, which was released in 1986 and in which Sathyaraj played Rajinikanth’s father. Interestingly, Sathyaraj had turned down offers to act in some of Rajinikanth’s earlier films like ‘Enthiran’ and ‘Sivaji’. ‘Coolie’, which is Rajinikanth’s 171st film, will revolve around gold smuggling. Interestingly, director Lokesh Kanakaraj has disclosed that ‘Coolie’ will be a stand alone film and not a part of his Lokesh Cinematic Universe (LCU).

–IANS

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The post Aamir Khan Plays Dahaa In Rajinikanth’s ‘Coolie’ appeared first on The Commune.

If sources in the industry are to be believed, ace Tamil film director Lokesh Kanakaraj is now undergoing martial arts training for his film with director Arun Matheeswaran.

It may be recalled that director Lokesh Kanakaraj is to make his debut as a hero in director Arun Matheeswaran’s action entertainer. Sources say that Lokesh Kanakaraj will complete Arun Matheeswaran’s film before he begins work on his next film ‘Kaithi 2’, featuring Karthi in the lead. After completing ‘Kaithi 2’, Lokesh is expected to join hands with Bollywood actor Aamir Khan for their film together. Sources claim that Lokesh is undergoing martial arts training in Thailand.

They point out that the director is also simultaneously working on the post production work of his upcoming film ‘Coolie’, featuring superstar Rajinikanth in the lead. ‘Coolie’ is one of the most eagerly awaited films of the year and will feature cameos by a number of top stars from other film industries including actors Aamir Khan, Nagarjuna and Upendra. The film, which is to hit screens worldwide on August 14 this year, has triggered huge expectations for a number of reasons. One of them happens to be the fact that the film will see actors Sathyaraj and Rajinikanth coming together for a film after almost 38 years.

The two were last seen together in the superhit Tamil film ‘Mr Bharath’, which was released in 1986 and in which Sathyaraj played Rajinikanth’s father. Interestingly, Sathyaraj had turned down offers to act in some of Rajinikanth’s earlier films like ‘Enthiran’ and ‘Sivaji’. ‘Coolie’, which is Rajinikanth’s 171st film, will revolve around gold smuggling. Interestingly, director Lokesh Kanakaraj has disclosed that ‘Coolie’ will be a stand alone film and not a part of his Lokesh Cinematic Universe (LCU). Apart from Rajinikanth, the film will also feature actors Soubin Shahir, Shruti Haasan, Rebe Monica John, and Junior MGR in pivotal roles. Music for the film is by Anirudh Ravichander and cinematography is by Girish Gangadharan. The film is being edited by Philomin Raj and produced by Kalanithi Maran’s Sun Pictures.

–IANS

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Kicking off the birthday celebration of Tollywood actor Nandamuri Balakrishna in style, the makers of his upcoming entertainer, “Akhanda 2: Thandavam” unveiled the gripping teaser from the much-discussed drama. The teaser introduces us to Balakrishna’s fiercely divine avatar in his next. The clip showed Lord Shiva’s vahan Nandi flaking the Trishul.

We also get a glimpse of the protagonist’s intense fight against evil. Set against the snow-capped backdrop of Kailasam, the sequel enjoys high-intensity action sequences choreographed by the stunt directors Ram-Lakshman, who have attempted to make the most of Balakrishna’s mass appeal. Renowned composer S Thaman’s background score adds to the whole cinematic experience. “Akhanda 2: Thandavam” marks Balakrishna’s fourth professional collaboration with filmmaker Boyapati Sreenu. A sequel to the 2021 blockbuster “Akhanda” the movie promises all the elements of a mass entertainer.

The drama has been produced by Raam Achanta and Gopichand Achanta under the prestigious banner of 14 Reels Plus, and presented by M Tejeswini Nandamuri. At the moment, the sequel is being filmed in the scenic locales of Georgia, where the team is shooting a major sequence for the movie. Certain parts of the movie were also shot at the sacred Maha Kumbh Mela that took place in Prayagraj this year and witnessed a tremendous footfall of devotees to take a dip in the holy water. With Balakrishna as the protagonist, the action entertainer will also see Samyuktha is the leading lady of the flick.

In addition to these two, Aadhi Pinisetty has been roped in as the antagonist for “Akhanda 2: Thandavam”. The camera work for the film is being taken care of by C. Ramprasad, along with Santoshh D Detake, whereas Tammiraju is the head of the editing department. The technical crew of the drama further includes A.S. Prakash as the art director. “Akhanda 2: Thandavam” is scheduled for a theatrical release on September 25, during Dussehra.

–IANS

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The post Akhanda 2 – Thandavam: Nandamuri Balakrishna Returns In A Spiritually Stunning Avatar appeared first on The Commune.

Actor Kamal Haasan has stirred a fresh controversy over language identity after claiming that Kannada “was born out of Tamil” during a public event in Chennai, Tamil Nadu.

The remark has triggered sharp political reactions and public outrage in Karnataka, with the BJP and pro-Kannada groups condemning his statement and demanding an unconditional apology.

Speaking at an event in Chennai just weeks after the trailer release of his upcoming film ‘Thug Life’, Haasan opened his speech with the phrase “Uyire Urave Tamizhe”, which translates to “My life, and my family, is in Tamil language”.

Referring to the presence of Kannada actor Shivarajkumar at the same event, Haasan said, “This is my family in that place. That’s why he (Shivarajkumar) has come here. That’s why I began my speech by saying, life, family and Tamil. Your language (Kannada) was born out of Tamil, so you too are included (part of it).”

His comments, perceived as undermining the Kannada language’s independent heritage, drew swift criticism in Karnataka. State BJP president B.Y. Vijayendra lashed out at the actor, calling his remarks “uncultured”, accusing him of insulting Kannada and its speakers.

“One should love one’s mother tongue, but showing disrespect in its name is uncultured behaviour. Especially, artists should have a culture of respecting every language. It is the height of arrogance and arrogance that an actor, Kamal Haasan, who has acted in many Indian languages, including Kannada, has insulted Kannada by including actor Shivarajkumar in the glorification of his Tamil language,” Vijayendra posted on X. He further accused Haasan of forgetting the “generosity of Kannada and Kannada people” and of revealing his “ungrateful personality”.

“Kamal Haasan, who is supposed to bring harmony to South India, has been continuously insulting Hinduism and hurting religious sentiments for the past few years. Now, he has insulted Kannada by hurting the self-respect of 6.5 crore Kannadigas. Kamal Haasan should immediately apologise unconditionally to Kannadigas,” he added.

The BJP leader also questioned Haasan’s authority to make historical claims about the origin of languages. “Let us remember Kamal Haasan, who spoke like a true sage who said that Kannadigas are not language haters but have never sacrificed self-respect when it comes to Kannada land, language, people, water, and ideas,” he said. Pro-Kannada groups, too, expressed their anger. Activists from Karnataka Rakshana Vedike tore posters of ‘Thug Life’ in Bengaluru and issued warnings of a potential statewide ban on the film. Praveen Shetty, leader of the outfit, slammed Hassan, stating, “We are warning you that if you talk against Kannada and Kannadigas, we will ban your movie.” The controversy comes just days ahead of the release of ‘Thug Life’, scheduled to hit theatres on June 5.

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The post DMK Stooge Actor Kamal Haasan Says ‘Kannada Was Born Out Of Tamil’ In Thug Life Film Audio Launch appeared first on The Commune.

DMK-sympathizing Dravidianist actor Suriya, appears to have walked into yet another box-office disaster with Retro, leaving audiences once again disappointed—especially on the heels of his recent flop, Kanguva. Viewers have pointed out that in both films, Suriya’s performance swings between excessive shouting and overacting, lacking the subtlety expected from a seasoned actor.

Directed by Karthik Subbaraj, Retro was touted as a highly anticipated Tamil romantic action drama. Featuring Suriya and Pooja Hegde in lead roles, the film hit theaters worldwide on 1 May 2025. Produced by Stone Bench Creations and 2D Entertainment, expectations were high due to the film’s unique genre blend, acclaimed cast, and the director’s strong track record.

Set amidst themes of love, crime, and redemption, the story follows Paarivel ‘Paari’ Kannan—a gangster trying to leave behind his violent past to start a new life with his wife Rukmini, played by Pooja Hegde. However, as old enemies resurface and secrets unravel, Paari’s journey toward peace spirals into emotional turmoil and action-laced conflict.

Despite the promising premise and strong production team, the film failed to leave a lasting impact. Viewers and netizens alike criticized Retro for being a time-waster, arguing that no amount of star power or technical finesse can salvage a film lacking in emotional engagement or a gripping storyline.

Some of the audience reactions and criticisms are summarized below:

One of the netizens lamented, “#Retro – an overstuffed tiring, exhausting bore fest that loses engagement after the 25 min mark. At times had to look at my watch as to when the movie would end. @Suriya_offl deserves better than this film, not one bit a comeback.”

#Retro – an overstuffed tiring, exhausting bore fest that loses engagement after the 25 min mark. At times had to look at my watch as to when the movie would end.@Suriya_offl deserves better than this film, not one bit a comeback. #RetroReview #Suriya pic.twitter.com/rhyAhpShV8

— Sachin C  (@SachinC_10) May 1, 2025

Another netizens reviewed the movie stating, “#Retro too many layers , too many plots and too many minutes precisely 168 minutes wasted as well , though there are exceptional scenes here and there it lacks the coherence and is disappointing.”

#Retro too many layers , too many plots and too many minutes precisely 168 minutes wasted as well , though there are exceptional scenes here and there it lacks the coherence and is disappointing pic.twitter.com/kh4Xar8SyP

— Sarcastic popcorn (@cvasachin) May 1, 2025

Another netizen lamented, “After Watching Retro, we are the Joker. Worst Movie.”

After Watching Retro we are the Joker

Worst Movie #Retro #RetroReview pic.twitter.com/G6wvHvaTxj

— Scorpian (@Scorpian_AK) May 1, 2025

Another netizens reviewd the movie stating, “#Retro review. Dei Karthik Subbaraj, you’ll never be okay… why did you make it this cringe? Suriya could’ve toned down his overacting… the jail scene was straight-up laughable. Please quit cinema… you’ve made us cry like this… Hey sk fans, you will pay for this.” 

#Retro review

Dei karthik subburaj ne nalla iruka maata… ipdi cringe pani vechitiyeda. Suriya na overacting ah kammi panirukalam.. jail scenelam siripudhan vandhichi.. pls quit cinema.. engala ipdi ala vechitingalaeda… dei sk fans ungaluku irukuda..#RetroFDFS

— அசால்ட்டு (@asaaltu_) May 1, 2025

Another netizen reviewed the movie stating, “Retro Movie Review #RetroReview FDFS Review from my US Friend. Another disaster from Surya. deadly boring Positives: Pooja Hegde Negatives: All others Criticism: Poor screen play. Karthik Subburaj should have given the screenplay impacting, or film should have been sprinkled with comedy. Mixed with both, film struggles where to be serious and where to sow comedy Result? Painful for the watchers.”

Retro Movie Review #RetroReview

FDFS Review from my US Friend. Another disaster from Surya. மரண மொக்கை

Positives: Pooja Hegde
Negatives: All others

Criticism: Poor screen play. Karthik Subburaj should have given the screenplay impacting, or film should have been sprinkled with… pic.twitter.com/5frbrrjyqH

— Prasanna (@DTRPrasanna) May 1, 2025

Another netizen shared a video of a frustrated moviegoer who slammed the film, saying it was a complete waste of money. The viewer sarcastically remarked, “For spending ₹250 in the morning, they made us to laugh (comedy show). It wasn’t goosebumps it was Kanguva 2.” Alongside the video, the netizen trolled, “Kanguva 2, huh? I thought he’d move up from tier 2 to tier 1… but Suriya’s fallen to tier 3 instead.” in the video the audience lamented saying, “For spending 250 ruppe they have made us laugh. It was not a goosebump, its Kanguva 2” 

Kanguvaa 2 ahmm en da tier 2 la irundhu tier 1 ku varuvanu paatha..tier 3 ku poitan Suriya #Retro #RetroDisaster
pic.twitter.com/M8ahFsrpOh

— Trollers-D (@Trollers_D) May 1, 2025

Another netizen mocked, “At least in Kanguva you could have run out of the theater saying the shouting gave you ear pain… But Retro? It’s not like that — you can peacefully fall asleep… Despite this if you are still thinking of watching it? Then you’re going to end up like ‘3-movie Dhanush'”

கங்குவா கூட கத்துனான் காது வலி வந்துச்சினு ஓடி வந்துருப்பீங்க…

ரெட்ரோ
அப்படி இல்ல நிம்மதியா தூங்கலாம்…

அதையும் மீறி பாக்கனும் நினச்சீனா ???

3 பட தனுஷ் நிலமை தான் உனக்கு… #RetroDisaster#BoycottRetro #flop_Retro #RetroFDFS@karthiksubbaraj@Suriya_offl pic.twitter.com/ZCrPgfCmbO

— ⁣꧁ குட்டிப்பையன் ꧂⁣ (@srinivasanvs7) May 1, 2025

Another netizen mocked the film by sharing a satirical news card claiming that Suriya’s ‘Retro’ struggled to fill seats even for its First Day First Show, leaving theatre owners stunned.

பாட்டாவே பாடிட்டாய்ங்கே..#RetroDisaster pic.twitter.com/6mXY7Zds6O

— அஸ்வத்தாமன் சேரன் (@Aswathamaa_Ofcl) May 1, 2025

One of the audience, frustrated after watching the movie Retro, told the media, “Retro didn’t really connect with me. It felt like they combined two or three movies into one and stuffed on us. I don’t understand why they took such lengthy one. It’s a three-hour film, and it has so much content takes that long just to tell the story. There’s so much drag and lag. Once the first half is over, it feels like the movie ends there, the second half  is entirely different content for film.”

He continued, “It felt like Suriya wanted to showcase everything his emotions, action in a single film. And the climax of this film felt like a remake of Jigarthanda 2 climax. If you look at the film in parts, Santhosh Narayanan did well with the music, and Pooja Hegde gave her career-best performance. But when you see it as a whole, you’re left wondering—why such huge content, such length? It was very lengthy and dragging.” He added, “He goes in search of love, then full action, then back to love, and again full-on action. It starts in one place, wanders off somewhere else, and finally ends in Jigarthanda 2 climax.” He rated the film 6 out of 10.

Another audience member shared their thoughts, “Both the first and second halves are too lengthy. Suriya’s presence was good, and the songs was also good. The vibe of the ‘Kanima’ song was awesome. What else? Well, we expected more from the story, but if you go in with low expectations, the movie is enjoyable. It was a comeback for Suriya he performed his part well.”

He continued, “I’d say go in with lower expectations, and you’ll probably enjoy the movie more. I went in with high expectations, so I felt a bit let down. The film runs for three hours, so there’s definitely a lag. They tried to make up for it with fight sequences—it worked to some extent, but not entirely. There’s a lot of action, and he has done martial arts in the film too.”

 Another viewer harshly criticized the film, calling it strictly average even when watched in theatres. He remarked, “Bro, this is just an average movie. It’s nowhere to claim being ‘super’ or ‘awesome.’ Even with the theatre experience, it felt average and if you’re watching on OTT, you can’t watch.”

He went on to say the script felt very plain and unimpressive. “Usually, movies pick up pace in the second half, but here, only the first half had some energy. After the flashback scene, people were just watching it casually. I don’t think it really made an impact on anyone.”

He lamented, “The entry and opening for him were solid, and his fight scene was impressive—but once the actual story began, there was nothing. That is the problem”

To sum up in a single line, Suriya’s ‘Retro’ falls flat; Dravidianist sympathizer faces another audience letdown.

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The post Retro Disaster: Netizens Call Suriya’s Latest Film As Kanguva 2, Time And Money Waste; Hattrick Flop For Suriya appeared first on The Commune.

The Delhi High Court has directed renowned composer A.R. Rahman and the team behind Ponniyin Selvan 2 to deposit ₹2 crore with the court after a copyright infringement complaint involving the Junior Dagar brothers’ classical piece, Shiv Stuti. The legal dispute was initiated after Ustad Wasifuddin Dagar, a distinguished Dhrupad vocalist, accused Rahman of copying a traditional family composition to create the song Veera Raja Veera for the film.

In an interim order dated April 25, Justice Prathiba M Singh observed that, from the perspective of an average listener, Rahman’s composition bore not mere inspiration but substantial identity with the original Shiva Stuti — matching in its melodic structure, emotional tone, and overall auditory impression. The court found this to be a violation of the original creators’ rights and directed the filmmakers to insert a slide crediting Late Ustad N. Faiyazuddin Dagar and Late Ustad Zahiruddin Dagar, known as the Junior Dagar Brothers, across all OTT and online platforms where the film is available. The court further awarded ₹2 lakh towards legal costs to a family member of the late artists.

Ustad Wasifuddin Dagar alleged that Rahman had taken the entire composition without authorization, stating, “He took the entire composition and used it as he pleased.” According to Dagar’s students, efforts were made to contact Rahman, including an email sent to him. Though Rahman and Dagar eventually spoke briefly over the phone — a call that reportedly lasted only around 30 seconds after a three-minute wait — no resolution emerged from the conversation.

Madras Talkies, the production house behind Ponniyin Selvan, responded to the allegations by rejecting the plagiarism claims. Their legal team argued that Veera Raja Veera was not a direct copy of Shiva Stuti but based on a 13th-century composition attributed to Narayana Panditacharya. They dismissed the accusations as a “fishing expedition for monetary gain and publicity,” asserting that Shiva Stuti has been widely performed over time.

Adding to the controversy, Dagar’s students pointed out errors in the crediting process. Initially, the traditional Dhrupad lineage — the Dagarvani tradition — was not acknowledged in the description of the song and was only added approximately ten days later. Even then, the tradition was incorrectly spelled as “Dargavani” instead of “Dagarvani.”

Ustad Wasifuddin Dagar explained that the piece was composed by his father, Ustad Faiyazuddin Dagar, and uncle, Ustad Zahiruddin Dagar, in raga Adana, later known popularly as Shiva Stuti. The Dagar family belongs to the prestigious Dagar gharana, a lineage that traces its musical roots back over 20 generations to the 15th century and is recognized as a cornerstone of Hindustani classical music’s Dhrupad tradition.

Meanwhile, Shivam Bhardwaj, a disciple of Dagar credited in the supporting vocals of Veera Raja Veera, revealed that discussions regarding the song’s origin were already underway prior to the formal complaint. Arman Ali Dehlvi, another student involved in the Hindi version of the song, mentioned that he had suggested the use of raga Adana and demonstrated the traditional composition in Tarana style when Rahman sought ideas for a battle-themed song, to which Rahman reportedly responded positively and agreed to give credit to the Dagarvani tradition — though, as critics argue, the acknowledgment was poorly executed.

Anand, another disciple of Dagar, criticized Rahman’s handling of the situation, stating that while Rahman’s song amassed millions of views and substantial revenue, the original composition was marginalized, reduced to a mere footnote. He remarked, “Rahman excels in using ragas innovatively. So this brazen effort to copy-paste an entire bandish and pass it off as his doing is shocking. He’s just an arranger in this case.”

Initially, Wasifuddin Dagar contemplated creating a video to publicly highlight the similarities between the two pieces. However, he refrained after his family advised caution, warning him of the formidable influence wielded by powerful figures within the South Indian film industry.

(With input from NDTV and The Print)

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The post Delhi High Court Orders AR Rahman To Pay ₹2 Crore For Copying Veera Raja Veera Song In Ponniyin Selvan 2 appeared first on The Commune.