Definitely, a theater would be the greatest place to catch “Kill,” an Indian action film set on a train to New Delhi. It was directed by Nikhil Nagesh Bhat, with fight scenes brilliantly choreographed by Se-yeong Oh and Parvez Sheikh (“Fighter,” “War”), and captured on film by Rafey Mehmood. However, despite its threadbare plot and too many lulls between action scenes, you may need to be seated before this movie starts in order to view it appropriately.
Luckily for everyone, these defects are not so glaring that they destroy the mood of the movie. For example, after watching Lakshya as Amrit and Tanya Maniktala as Tulika in one scene where he kills some dozens of goons all alone using his muscles I still didn’t care enough about whether anything bad could happen to them. More noise from audiences and sound systems will help keep viewers engaged in this totally light exercise of the helium genre.
“Kill” feels long at 105 minutes even though it is produced by Bollywood figurehead Karan Johar. “Kill” intentionally avoids many of the showy melodramatic touches which have become associated with modern Indian films intended for Western viewership. Furthermore, there is hardly any conceivable explanation why Amrit should be supported while shooting through car after car full of nondescript henchmen types. In addition, he meets Tulika after she has begun celebrating her engagement with someone else without making her belong to him or something like that feeling without an intention frowning at her father Harsh Chhaya who is similar late fiancé.
There are other minor characters such as Viresh (Abhishek Chauhan), Amrit’s best friend who serves as another National Security Guardsman and Fani (Raghav Juyal), a loud mouthed young kidnapper who develops feelings for Tulika. In fact, it is not so important that they both simply appear to lack any standout characteristics. However, it is worth mentioning how Lakshya and Chauhan are seen flipping or tumbling themselves in different compartments of the train.
In fact, the collaboration of Se-yeong Oh and Parvez Sheikh’s choreography is on greater display here compared to their most recent Yash Raj Spy Universe projects like “Tiger 3” where action scenes were focused upon action figure poses and computer-generated havoc. Mostly, “Kill” contains quite a lot of action as one might expect from a movie named after an active verb although there are times one wishes more time had been spent with other nervous travelers inside the train.
Essentially, Bhat and co-writer Ayesha Syed have tried to offer a generic setup which should not bother you. Nevertheless, some dramatic moments take too long even when they ought to be moving towards another way. Some fight sequences in this film feel lightweight — almost dull at times especially because they mostly happen within the movie’s setting only. These set-pieces are briskly entertaining without being totally disarming through relentlessness or intensity.
The punch up that occurs about thirty minutes into the film seems like a waste of opportunity, despite good dancing, as some fellow passengers pose as distractions rather than cowering in the background while Lakshya and his adversaries are actually in juxtaposition. A few key instances where Amrit rallies or reminds himself why he fights appear more like well-shot rehearsal shots. You don’t have to be a Johar freak to notice there’s no extra drop of melodrama here, though his most recent romantic comedy, “Rocky Aur Rani Kii Prem Kahaani,” is worth checking out.
In essence, the high concept idea behind ‘Kill’ is mainly fun but needs better execution. On camera actors get physical with each other quite convincingly; besides this the directors really keep up with their cast members and edit their fight scenes in such a way that you don’t have to strain your eyes trying to see what’s just outside of the frame. Even so, sound design also adds some ambiences tension and sparing use of music on the soundtrack keeps you guessing what might come next. Moreover, Tarantino’s frequent use of bloodshed by both good and evil characters surprises us quite often even though not all at once.
Mostly moves fast enough for you not to mind its occasional hiccups along the way until end credits roll when you’ll hopefully be too hyped on adrenaline for any sort of caring about details.
The pure lizard-brain delights one gets from viewing a bare-bones crowd-pleaser that does exactly what its title says it will do on as large a screen as possible should not be dismissed when considering why people prefer movie-going in cinemas over watching them at home or online. Isn’t that what one expects from an enjoyable summer flick – something more than air conditioning and popcorn? As such ‘Kill’ does tick off most important prerequisites for successful popcorn thriller, which means it is easy to avoid but difficult to miss.
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