Dhurandhar The Revenge (2026) Review!!

Synopsis – Jaskirat Singh Rangi descends deeper into his alias as Hamza Ali Mazari, rising through Karachi’s criminal hierarchy to claim the feared title “Sher-e-Baloch” while balancing loyalty, betrayal, and survival in a ruthless underworld.

My Take – What more can be said about the phenomenal success of Dhurandhar that hasn’t already been said? That an original spy action thriller could cross the thousand-crore mark while releasing in just one language—and without a theatrical run in the Middle East—speaks volumes about the kind of impact it had on audiences.

Barely three months later, has a sequel arrived, carrying towering expectations and an audacious runtime of 229 minutes and 6 seconds— nearly four hours long. As promised, the follow-up goes bigger, bolder, and more expansive. Where the first film thrived on infiltration, this one is driven by annihilation—systematic, relentless, almost clinical, as director, writer, and producer Aditya Dhar (Uri: The Surgical Strike) sharpens his cinematic voice, delivering hard-hitting action set pieces, unpredictable twists, and a surprisingly strong emotional core that lingers.

However, the film falters in its attempt to blur the line between reality and fiction. In doing so, it struggles to uphold the balance its predecessor maintained—particularly due to its more overt and troubling political undertones. While many, myself included, could overlook the softer propaganda elements of the first installment, here they are far more pronounced, at times veering into territory that feels reductive and divisive, ultimately undercutting the storytelling.

Sure, there’s no denying that the talented ensemble, polished technical craft, and a rousing background score keep the film consistently engaging. Yet, at several points, the narrative leans into framing the escalating India–Pakistan tensions in overly simplistic and troubling communal terms, which diminishes the nuance the story aspires to achieve.

That said, from a purely cinematic standpoint, the execution remains undeniably impressive. Director Dhar’s command over scale, pacing, and spectacle ensures the film rarely drags despite its daunting length. The drama is compelling, the character payoffs are satisfying, and the final hour, in particular, is gripping enough to warrant repeat viewings.

The film once again follows Hamza Ali Mazari (Ranveer Singh), whose real identity is revealed as Jaskirat Singh Rangi. Beginning in the year 2000, he is a 21-year-old army aspirant whose life takes a dark turn after a brutal tragedy—he murders MLA Sukhwinder Singh and eleven male members of his family in retaliation for an attack on his father and the horrific assault on his sisters over a minor land dispute. Though imprisoned and awaiting a death sentence, his fate changes two years later when Ajay Sanyal (R. Madhavan) recruits him for Operation Dhurandhar.

The narrative then jumps to 2009, picking up just two days after Hamza eliminates Rehman Dakait (Akshaye Khanna). What follows is his meteoric rise—from a key figure in the Baloch gang to the undisputed king of Lyari, and eventually, a powerful political force who comes to dominate Karachi itself.

All of this unfolds under the watchful eyes of ISI Major Iqba (Arjun Rampal), Sindh Police (LTF) officer Chaudhary Aslam (Sanjay Dutt), and Jameel Jamali (Rakesh Bedi), a manipulative senior politician who also happens to be the father of Hamza’s wife, Yalina (Sara Arjun). As Hamza’s influence and notoriety grow, his name begins to echo far beyond local power circles—eventually drawing the attention of the enigmatic Bade Sahab.

The film opens on a strong note, with its chapter-wise narrative structure lending clarity to an otherwise sprawling story without interrupting its momentum. It constantly moves across borders, blurring the line between fact and fiction. Real names are invoked, real events are echoed, and the narrative places itself uncomfortably close to reality. From gang wars in Pakistan to shifts within India, from references to demonetization to the Babri Masjid verdict, director Aditya Dhar constructs a world that feels informed—even when it edges into speculation.

The staggered introduction of key characters adds intrigue, while the emotional undercurrent emerges as one of its biggest strengths. Patriotism runs high, with several moments clearly designed to elicit applause. However, unlike its predecessor, this is no longer just a geopolitical or espionage-driven narrative; it evolves into a character study masquerading as a war film. Hamza’s journey—from Jaskirat Singh Rangi, an idealistic young man from Punjab, to the feared king of Lyari, and ultimately back to being India’s Jassi—forms the emotional backbone of the film. This constant oscillation between identities lends the story a rare, unsettling depth.

Yet, as the narrative progresses, it begins to buckle under its own ambition, particularly as it swings uneasily between hyper-realism and outright fiction. Hamza’s rise—culminating in his transformation into Karachi’s uncrowned king after aligning with Nawaz Shafiq, a character seemingly inspired by Nawaz Sharif—sounds compelling on paper. On screen, however, it often strains credibility.

The film attempts to weave nearly every major political and criminal event in India and Pakistan into a single thread: suggesting direct central government involvement in Atiq Ahmed’s assassination, depicting figures like Ajit Doval engaging directly with the Uttar Pradesh Police, and even justifying demonetization through a fictional covert mission dubbed Operation Green Leaf, presented as the sole means of intercepting counterfeit currency. These narrative choices push the limits of cinematic liberty, and instead of enhancing realism, they result in a convoluted web that links unrelated events in unconvincing ways.

That said, the film remains technically accomplished. It is packed with relentless violence—gunfights, explosions, and bloodshed dominating much of its runtime. Given the scale of its action and destruction, the film relies heavily on CGI, which, for the most part, is effectively executed. The editing stays sharp despite the daunting length, and the sound design—particularly the background score—keeps the film’s energy intact. Much of the music leans on remixes of familiar tracks, including the Arabic hit Didi and the popular Hindi number Tamma Tamma, adding a sense of familiarity to the otherwise intense proceedings.

Performance wise, Ranveer Singh completely owns the film, delivering what is arguably his most passionate, controlled, and powerful performance to date. He seamlessly embodies both the vulnerability and the steely resolve of the central character, committing to the role with striking physicality and emotional depth. His demeanor and voice modulation, in particular, lend Hamza an imposing aura that feels authentic and lived-in.

Sanjay Dutt brings his trademark gravitas, adding weight and authority to the narrative, while Arjun Rampal sustains his menacing presence from the first installment. His scenes—especially those involving his father—leave a lasting impression. R. Madhavan plays a pivotal role, grounding the film with a quiet intensity and much-needed gravitas. Sara Arjun, though afforded limited screen time, makes her presence felt with a restrained and effective performance.

Meanwhile, Rakesh Bedi emerges as a surprise standout, elevating his part and earning some of the film’s most rousing moments. In supporting roles, Manav Gohil, Saumya Tandon, Danish Pandor, Raj Zutshi, Mustafa Ahmed, Aditya Uppal, and Danish Iqbal provide solid backing, ensuring the ensemble remains consistently engaging throughout. On the whole, ‘Dhurandhar: The Revenge‘ is an ambitious, technically accomplished spectacle that grips with its scale and performances, even as its overreaching narrative and heavy-handed politics hold it back from true greatness.