Nikhil Nagesh Bhat’s Kill is the most visceral, original film of the year. The nonstop violence is intoxicating as the action choreography pulsates through the entire runtime creating an intense experience within the best action film of the year led with a perfect debut performance from Lakshya.

In Kill from writer/director Nikhil Nagesh Bhat, the romance is used as a set up for the almost two-hour nonstop violence set in a confinded location, a long-distance train bound for New Delhi. With an incredible design for the train, some of the best written ensemble of characters, and electric fight sequences, Kill is easily the best action film of the year. By keeping the entire film set on the train, not only does the action and violence become more inventive but the unpredictability of the story elevates the stakes that may not have felt as high in another filmmaker’s hands. 

Tulika (Tanya Maniktala) boards a train after her very wealthy family hurries her on so she can be married off before she settles down with the actual love of her life Amrit (Lakshya). Amrit is on a mission as he gets on the same train to spend any moment he can with his true love and hopefully win her family over by the end of the train’s journey. By using the love story as a set up to what turns into an actual bloodbath, Bhat flips the star-crossed lovers’ premise often seen in Bollywood films. Kill becomes a feel-bad exploration of vengeance with pulsating, kinetic action sequences that are unforgettable. Amrit boards the train with fellow army comrade Viresh (Abhishek Chauhan) and isn’t long before the romantic quest turns into what many would probably describe as a Die Hard like premise, but it’s somehow much more original idea with Bhat at the helm. 

Maybe after five or six minutes on the train, a group of bandits materialize from the passengers and start to violently rob everyone on board. To set up this violent robbery on a two-hour train ride with no scheduled stops, Bhat creates a similar feeling to the first time you watched Speed. The bandits have jammed the phone connection and cut the emergency brakes on board, so there is simply no chance of anyone coming to the rescue… minus the two army commandos on board. Amrit and Viresh quickly formulate not just a plan but spring into fighting mode. Watching Lakshya switch from a wide-eyed boy in love to a terrifying killing machine is incredible, to be his debut performance, it’s a once in a lifetime kind of performance physically and internally. 

The action that follows is breathtaking as it’s both completely chaotic but perfectly captured as Bhat immerses us in the panic that takes over the train, but we can clearly see every kick every punch every broken jaw. The energy and pacing are kinetic and inexhaustible as the music keeps the momentum up just as much as the brilliant editing. The inventiveness that arises due to the trapped on a train setting is not only funny to see unfold but allows for inventive kills involving everything from bedsheets to fire extinguishers. After a shocking incident that changes the way you feel about what is to come, the title card finally drops and the violent becomes relentless as carnage takes over the train. With choreographers Parvez Shaikh and Se-yeong Oh, the action in Kill is stunning and some of the most original fight choreography seen in years. Kill uses its bandits in a surprising way that while it is thrilling to see the bad guys go down, they’re also all family, a father or brother of a passenger on board the train. There’s an emotional reaction to almost every death, which could sound draining, but Bhat keeps the tone pulsating as you eagerly await the next kill. 

In the hands of any other filmmaker. Kill could be an overwhelming experience. However, Bhat is masterful and delivers one of the best action films of the year. Kill is the most visceral, original film of the year. The nonstop violence is intoxicating as the action choreography pulsates through the entire runtime creating an intense experience with a perfect debut performance from Lakshya.

Grade: B+

Oscars Prospects:
Likely: None
Should be Considered: Best Editing

Release Date: July 4, 2024
Where to Watch: In Select Theaters