Bollywood’s greatest box office hits predominantly occupy a space between romance and action. It’s a cheesy dichotomy that espouses passion, with the hero’s bout for true love easily lending itself to fisticuffs. The action is exaggerated and flamboyant, having the lone protagonist battle against a countless number of foes, with a single punch often launching a horde of baddies into the air. It’s escapism in its purest form, underscored by a level of whimsy that continues to captivate a generation of moviegoers. Nikhil Nagesh Bhat’s KILL (2023) revels in that same arena but instead, its emotional, romantic undercurrent gives way to a visceral, unbelievably gory experience that isn’t only the most violent film to ever grace the silver screen in India, but possibly anywhere.
Seldom does an action film so fresh, vibrant, and confident inspire hope for a genre severely lacking in originality, as KILL (2023) takes a relentlessly gnarly and exhilarating approach that lights a fire in its audience. Never has a movie ever so mercilessly and gloriously lived up to its title.
Army Commando Amrit (Lakshya) hops on a train bound for New Delhi with fellow soldier and best friend Viresh to rescue the love of his life, Tulika (Tanya Maniktala), from an arranged marriage. Yet, the plan is quickly derailed when a 40-strong crew of bandits (called “dacoits” in India), led by the lively and unpredictable Fani (Raghav Juyal, who chews the scenery), take the train and its passengers hostage. It’s up to the two friends to put their martial arts expertise to use to dispatch the thieves and save the day.
It’s a simple premise that reads like The Raid on a train, and to a certain extent it is, but Bhat quickly subverts all expectations, crafting a gorefest that consistently redefines itself and ups the ante well before its title card pops onto the screen— approximately 40 minutes into the runtime. Each sequence doubles as a shot of adrenaline straight to the heart, igniting a greater thirst for blood with each death blow. Bhat’s actioner is trance-induing to say the least, with its symphony of close-quarters combat slicing, cracking, decapitating, and eviscerating through bodies in such an original and inventive manner that no one kill is the same.
KILL (2023) feels purpose-built for the theatrical experience, actively feeding off each wince, shriek, and rousing applause from the audience, as Amrit makes his way through the train, repurposing objects like a fire extinguisher in the most savagely invigorating ways ever conceived. It’s raucous, strangely empowering ride, keeps the pupils dilated, evoking thrills that even the biggest blockbusters struggle to replicate. Films from the John Wick or Mission: Impossible series give the audience a chance to catch their breath, but KILL (2023) doesn’t afford them any such luxury. Bhat’s ability to control the flow of action is palpable, slowing down, speeding up, and zooming in at the most cathartic, opportune of moments.
Yet, it’s not all mindless bloodletting. There’s an emotional core that grounds the film and gives weight to the film’s wanton carnage. Amrit isn’t a stoic, glazed-over combatant but is emotionally vulnerable, as he’s made to have real skin in the game, making the barbaric lengths he goes to destroy his enemy even more satisfying. Bhat imbues the story with heart and is a true achievement given how much chaos the film is enveloped in— with its opening, Bollywood melodrama adding the right amount of fuel to its blazing fire.
Lakysha’s committed performance goes a long way in achieving this effect, with is natural charisma and dexterity bringing the exacting vision of Bhat, and his choreographers Se-Yeong and Parvez Shaikh, to life. Amrit puts the fear of God into his adversaries, and as the bodies continue to pile up from car to car, they learn they’re the ones who are trapped with him, not the other way around. Juyal work as the villainous Fani is also layered. His register finds the perfect blend between sinister and darkly comic, becoming more erratic and chaotic by the minute.
KILL (2023) mines a whole lot from its single location, injecting a new form of action into India’s storied film industry. It’s a rare film that commands viewers to get as vocal as possible and relish each second of its riotous and brilliant bloodbath. Bhat has created the type of movie that theatres were first made for, one that will be revisited for years to come.
KILL (2023) screened as part of the 2023 Toronto International Film Festival.
9/10
TL;DR
KILL (2023) mines a whole lot from its single location, injecting a new form of action into India’s storied film industry. It’s a rare film that commands viewers to get as vocal as possible and relish each second of its riotous and brilliant bloodbath.
