Written by: Siddhartha Krishnan | 6 Min Read
(Note: this piece contains links to the film’s trailer, its making and pre and post release interviews. Click on the blue fonts to view them. Trigger warning – some descriptions of extreme violence)
“Kill” premiered at the Toronto International Film Festival last September, where it was showcased in the ‘Midnight Madness’ section. It received positive reviews from critics worldwide, leading to Lionsgate acquiring the rights for its release in the US and UK—a rare big studio deal for an Indian production. However, the film’s most significant achievement came just days before its India release: the announcement that Chad Stahelski, director of the John Wick franchise, would produce its English remake. This is a big moment for the Hindi film industry, as “Kill” is the first of its kind for not just Hindi cinema but also Indian cinema as a whole.
Much of the conversation around the film before its release in India was centered around its genre. A thin line differentiates a genre film from a film genre. A genre film is one where the narrative is laser-focused on delivering what the genre promises. Anything else risks becoming like an Indian thali, offering a bit of everything. “Kill” is a genre film that promised a blood-soaked, gore-filled brawler mayhem—the kind of brutal action rarely seen in Hindi cinema. Despite this, producers Karan Johar and Guneet Monga were optimistic about getting a theatrical release in India. The challenge was not just to get past the censor board but to do so with minimal or no cuts. Surprisingly, it passed without cuts! On July 5th, “Kill” released in India.
But did it deliver on its promise to its niche audience?
Films like “Kill” are characterized by their raw and violent action that is realistic in nature, which is hard to execute convincingly. This is where the technical team comes to play: production design, sound design, action choreography, prosthetics, and, of course, writing and direction. For an action film to rise above the rest, every minute detail must be meticulously crafted. Here, “Kill” breaks the conventions of Hindi cinema.
In ten minutes, director Nikhil Nagesh Bhat introduces the characters, the world, and sets up the plot. The storyline is simple, as is often the case with genre films—Amrit and Tulika are in love. Tulika’s father, a powerful businessman, arranges her engagement against her will. Thereafter they board a train to New Delhi. Amrit and his friend Viresh also board the train to stop the marriage. But a gang of forty knife-wielding dacoits jump onto the train to loot the innocent passengers. They don’t hesitate to kill anyone who resists. What the goons don’t know is that Amrit and Viresh are army commandos. What follows is an adrenaline-filled, high-octane, and brutal ride guaranteed to keep you on the edge of your seat. Imagine John Wick, Raid, and Train to Busan; but this is quintessentially an Indian film, which itself lends it novelty.
The production design creates a dark, immersive world that feels both familiar and terrifyingly new. Every Indian knows about our trains, so creating an authentic train set that accommodates action sequences from all angles was crucial. Production designer Mayur Sharma makes us feel the claustrophobia of an all-out brawl in small spaces, leaving us wondering how certain scenes were pulled off.
The sound design of the film is stellar, amplifying every punch, stab, kick, and gunshot, making the audience flinch and cringe at the crack of bones or the tear of flesh. The prosthetics team deserves special mention for their attention to detail. Gore in slaughter films can be shown through CGI or prosthetics, but true fans know that prosthetics done right make the scenes impactful. The way blood oozes from a body, its viscosity, and the amount are crucial to the narrative when a person is stabbed, cut, shot, or hit with a blunt object. Making such films isn’t easy because the gore isn’t just part of the film—it is the film.
But it’s not just the technical prowess that sets “Kill” apart. The writing and direction are sharp, driving the narrative forward with relentless pace. The film doesn’t shy away from brutality, instead embracing it to tell a story that is both harrowing and exhilarating. However, the writing isn’t perfect; the dialogues sometimes come across as weak, and some scenes, especially between Tulika and Amrit, feel unnecessary. There is also an emotional distance with the protagonist, Amrit (Lakshya Lalwani), sometimes accentuated by a less convincing background score. On the other hand, the villain, Fani (Raghav Jugal), is a better written character. Despite the fast pace, the film truly takes off in the second half, which might be a deliberate choice by the director, who also wrote the film. This approach seems intended to let things simmer and prepare the audience for the carnage of the second half.
Clearly, the action choreography is the star of the film, around which all other facets revolve. The action had to be raw, brutal, and most importantly, real. Pre-release interviews made it clear that every detail was meticulously planned, including the gore, a hallmark of great action films. The way action choreographers Se-Yeong Oh and Parvez Shaikh, along with cinematographer Rafey Mehmood, have executed this is essential viewing. Editor Shivkumar V Panicker also deserves a mention. The editing is crisp and thankfully the overused trick of long shots is omitted.
Most of the heavy lifting in the action sequences rested on the protagonist’s shoulders, Lakshya as Amrit, who trained for almost eight months for the role. His performance in the action scenes is exemplary, and his screen presence and baritone voice help him portray the character effectively.
The casting as a whole is spot on. Raghav as Fani brings the menace and unpredictability needed for the character. The second half, which focuses on the hunters becoming the hunted, required the goons to show vulnerability through confusion. This part of the film is particularly interesting from a writing standpoint. Additionally, the forty dacoits, despite their limited screen time, were not just pulled off the streets; they were all actors who convincingly fought with the protagonist. The casting team deserves praise for maintaining high standards and not succumbing to mediocrity.
“Kill” doesn’t pander to all audiences. It’s not meant for the faint-hearted or those expecting a typical masala action film with a bit of everything. It is hyper-focused on delivering exactly what it promises; everything else is momentary or serves to drive the narrative forward. While the film falters sometimes in these moments, it delivers its core promise with absolute honesty. This train journey is a pulsating, thrilling and shocking ride.
“Kill” cannot be advertised like other Indian action films. During promotions, the cast used the tagline, “Himmat hai toh hall mein aao” (If you have the courage, come to the theater). I suggest you don’t, if you’re easily affected by violent scenes. But for cinephiles who love this genre, this is the film to watch this weekend. It’s a bloody, genre-defining masterpiece that must be experienced in a theatre. It deserves a good word of mouth.
My Verdict –
IMDb rating – 7.9/10
My rating – 4/5
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About the author –
Siddhartha Krishnan is the author of ‘Two and a Half Rainbows – A Collection of Short Stories’. He is also an enthusiastic blogger, and on his blog (www.whatsonsidsmind.com), he puts out his articles, essays, travelogues, book and movie reviews.