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A movie theater would probably be the best place to see “Kill,” a bloody Hindi-language Indian beat-em-up set on a train to New Delhi. The movie features a handful of visually dynamic fight scenes, choreographed by action directors Se-yeong Oh and Parvez Sheikh (“Fighter,” “ War ”), directed by Nikhil Nagesh Bhat , and shot by cinematographer Rafey Mehmood . “Kill” also features a threadbare plot and a few too many lulls between action scenes, so you might need to be seated before and focused on a big screen to see it at its best.

Thankfully, these blemishes aren’t so significant as to deflate the movie’s prevailing mood. You might still leave the theater wishing you cared more about Amrit (Lakshya), a one-man-army commando, and Tulika ( Tanya Maniktala ), a mostly defenseless woman on whose behalf Amrit creams a few dozen heavies. A rowdy audience and/or loud sound system will likely give theatergoers the extra boost needed to keep this helium-light genre exercise moving.

“Kill” still feels long at 105 minutes. Produced by Bollywood figurehead Karan Johar, “Kill” skimps on many of the flamboyant melodramatic touches that have come to define contemporary Indian cinema for Western audiences. Moreover, there’s barely a conventional reason to root for Amrit as he tears through car after car of indistinct baddies. He meets but does not sweep Tulika off her feet after she celebrates her engagement—to someone else. She wants to show respect to her father (Harsh Chhaya), who, like her fiancé, disappears too quickly to matter. 

There are additional supporting characters, like Viresh ( Abhishek Chauhan ), Amrit’s best buddy and fellow National Security Guardsman, and Fani ( Raghav Juyal ), a brash young kidnapper who gets hung up on Tulika. They’re ultimately neither so interesting nor as important as the sheer spectacle of watching Lakshya and Chauhan flip, tumble, and hurl themselves around various train compartments. 

Oh and Sheikh’s choreography gets a better showcase here than in their recent Yash Raj Spy Universe collaborations, like “ Tiger 3 ,” whose action scenes were more focused on action figure poses and computer-generated mayhem. “Kill” frequently delivers the sort of action one might expect from a movie with an action-verb title, though one sometimes wishes that more time was spent with the train’s many other anxious passengers.

In theory, you don’t need to worry about the generic setup that Bhat and co-writer Ayesha Syed provide. Then again, several dramatic moments, both major and minor, drag when they should coast to the next big sequence. A handful of action scenes feel light and even look monotonous, partly given the limitations of the movie’s primary setting. These set pieces tend to be brisk and engaging but aren’t so relentless or intense that they’re entirely disarming.

The brawl that comes about a half hour into the movie feels like a wasted opportunity, despite strong choreography, given the distracting presence of other commuters, who aren't cowering in the background but rather in close proximity to Lakshya and his opponents. A handful of crucial moments, where Amrit rallies or remembers why he’s fighting, look more like well-mounted rehearsal footage. You don’t need to be a Johar diehard to notice that an extra dash of melodrama is missing here, though his most recent rom-com, “Rocky Aur Rani Kii Prem Kahaani,” is worth your time. 

“Kill”’s high-concept scenario is mostly a fun idea in search of better execution. To their credit, the on-camera actors look good when they work each other over, and the filmmakers do a fine job of not only keeping pace with their performers but also cutting their fights in such a way that you never have to strain your neck to see whatever’s just out of frame. The sound design also keeps a certain ambient tension up, and the spare use of music on the soundtrack keeps you wondering about what might be coming up next. Better yet, the blood and gore that erupts from a range of good and bad characters is also effectively surprising, at least on a moment-to-moment basis.

“Kill” often moves well enough that you might not care about the various bumps along the way until the end credits roll, by which point you’ll hopefully be too high on adrenaline to care. In thinking about why audiences should prioritize movie-watching in movie theaters, one shouldn’t be too quick to dismiss the pure lizard-brain pleasures of watching a no-frills crowd-pleaser deliver exactly what its title promises on as big a screen as you can find. Isn’t that what you crave from a good beat-the-heat summer movie, beyond air conditioning and concession stand treats? “Kill” tics off most of the essential boxes for a good popcorn flick, making it easy to resist but harder to pass up.

Simon Abrams

Simon Abrams is a native New Yorker and freelance film critic whose work has been featured in  The New York Times ,  Vanity Fair ,  The Village Voice,  and elsewhere.

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Kill (2024)

115 minutes

Lakshya as Amrit

Tanya Maniktala as Tulika

Raghav Juyal as Fani

Abhishek Chauhan as Viresh

Ashish Vidyarthi as Beni

• Nikhil Nagesh Bhat

Screenwriter

• Ayesha Syed

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Review: जोश-जज्बे और बहुत सारे इमोशन्स से भरी है 'मैदान', बेमिसाल हैं अजय देवगन

09 अप्रैल 2024.

हमारे देश के इतिहास में ऐसे कई लोग रहे हैं, जिन्होंने हमारे देश को ऐसे मुकाम पर पहुंचाया, जिसकी उम्मीद किसी ने कभी की ही नहीं थी. ऐसे ही एक शख्स थे सैयद अब्दुल रहीम. अब रहीम की कहानी को सुपरस्टार अजय देवगन अपनी फिल्म 'मैदान' के साथ पर्दे पर लाए हैं. फिल्म देखने से पहले पढ़िए हमारा रिव्यू.

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मूवी रिव्यू

मूवी रिव्यू: चलती रहे जिंदगी

मूवी रिव्यू: डेडपूल एंड वुल्वरीन

मूवी रिव्यू: बैड न्यूज

मूवी रिव्यू: हिंदुस्तानी 2

मूवी रिव्यू: काकूदा

मूवी रिव्यू: सरफिरा

मूवी रिव्यू: वाइल्ड वाइल्ड पंजाब

मूवी रिव्यू: किल

मूवी रिव्यू: शर्मा जी बेटी

मूवी रिव्यू: रौतू का राज

मूवी रिव्यू: कल्‍क‍ि 2898 एडी

मूवी रिव्यू: महाराज

सिनेमा, एक ऐसी दुनिया जहां हर शुक्रवार को 'भगवान' बदल जाते हैं। अपने फेवरेट एक्‍टर, एक्‍ट्रेस और डायरेक्‍टर्स की फिल्‍मों रेटिंग पर रखें नजर। किसी फिल्‍म में क्‍या अच्‍छा है और क्‍या बुरा, 'मूवी रिव्‍यू' में जानिए बिना किसी पक्ष-विपक्ष के सटीक एनालिस‍िस, हमारे सबसे बेहतरीन फिल्‍म समीक्षकों की नजर से।

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India box office: ‘bad newz’ crosses $6 million in first weekend.

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Vicky Kaushal Amy Virk and Triptii Dimri on a poster of the Hindi film 'Bad Newz'.

The latest Hindi release, Bad Newz , made a decent opening at the ticket windows and scored nearly $6.4 million in three days at the global box office. The film features Vicky Kaushal ( Sam Bahadur , Uri: The Surgical Strike fame), Triptii Dimri and Amy Virk in lead roles. Directed by Anand Tiwari ( Bandish Bandits , Maja Ma ), the film is co-produced by Dharma Productions, and Leo Media Collective, and Amazon Prime.

Bad Newz scores in India

With total collections of $1,070,870, the film also made it to the eighth slot on Comscore’s list of ten top scoring movies in the US market over the weekend ending July 21. In India, the film made an opening collection of $1 million and the scores rose slightly over the weekend, making a three-day total of $3.5 million. The film has crossed $4 million-mark in five days and collected $4.5 million in India by Tuesday.

Bad Newz scores outside India

A major portion of Bad Newz earnings come from outside of the domestic Indian market - it earned more than $2 million in the Gulf region and made another million dollars at the North American box office. Globally, the film made $1.6 million on Friday and the collections rose to $3.7 million on the second day of the release. In three days, it grossed $6.4 million worldwide.

Bad Newz : Box Office Records

Bad Newz is now the fifth highest opening Hindi film of 2024. Nag Ashwin’s epic Kalki 2898 AD remains on top of the highest-scoring films this year. The Hindi version of the film featuring Prabhas, Deepika Padukone, Amitabh Bachchan and Kamal Haassan opened with nearly $2.8 million while Sidharth Anand’s Fighter earned $2.7 million and remains the highest opening Hindi original for the year in India. Bade Miyan Chote Miyan made an opening collection of $1.9 million and Shaitaan made $1.7 million on the first day of the release.

The earnings of Bad Newz are also Kaushal’s third-highest opening weekend collections in India. Aditya Dhar’s Uri the Surgical Strike and Meghna Gulzar’s Raazi are the films that have a better opening-weekend score.

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Contrary to the box office scores, Bad Newz has mostly received criticism in reviews. The film is being widely panned for being too fluffy and a lack of emotional connect. Written by Ishita Moitra and Tarun Dudeja, the film lacks emotional coherence and fails to establish even the main characters.

Bad Newz is inspired by true events and tells the story of a woman who is pregnant and discovers that her twins have two different biological fathers - a case of rare medical condition called ‘Heteropaternal Superfecundation’. How the world around her reacts to the whole development, and how she decides whether she’d like to co-parent the twins with either of the fathers forms the story of Bad Newz .

Despite the lack of depth in the writing which restricts the actors in displaying their prowess, Kaushal manages to excel. He plays a typically flamboyant Punjabi boy from Delhi whose aim in life is to have a good marriage and keep his mom happy. Kaushal also benefits from the detailing in his character - a trait that is lacking in all other characters. He has been given a role that displays all characteristics of a patriarchal mind set, with a good heart that is ready to make changes in himself and those around him. Kaushal delivers his performance without being judgmental of his character, or his surroundings and comes out with flying colors.

Dimri’s role is a rather disappointing one and a flat character arc further disables her skills. She plays an ambitious chef who marries for the sake of love, only to realize soon that she’d rather stay alone and work for her dreams than sacrifice her dreams at the altar of love and marriage. The problem is that her character is not given enough space - not to establish her passion for dreams, neither her love for the lover. Everything is too superficial, and the emotional outbursts appear like a sudden attack.

Every other character in the film, and several themes and sequences seem more like short social media videos that have all the visual effects and appeal to those searching for rich colorful frames coupled with cheesy dialogues but fail to build empathy in the audience. For example, there is an ex-lover in the story who is mentioned exactly thrice without going for much details - the name is mentioned twice for the sake of creating twists for the hero, and the person appears once to give a hurried closure to the film. Though it was labelled as a spiritual sequel to Akshay Kumar-Diljit Dosanjh-Kiara Advani’s Good Newwz directed by Raj Mehta, Bad Newz comes nowehere close.

Real life stories behind Bad Newz

One of the earliest reports of such conception came to light when John Archer — the first doctor to receive a medical degree in the United States — talked about it, a Today.com report from 2009 said. The report also mentioned Mia Washington who gave birth to twins with different biological fathers in 2009.

A 2016 BBC report revealed a Vietanamese woman gave birth to twins with two different biological fathers. It also added that another woman had twins with different fathers in 2015. More recently, a Brazilian woman gave birth to twins in 2022 and they had two different biological fathers.

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Alien: Romulus

While scavenging the deep ends of a derelict space station, a group of young space colonizers come face to face with the most terrifying life form in the universe. While scavenging the deep ends of a derelict space station, a group of young space colonizers come face to face with the most terrifying life form in the universe. While scavenging the deep ends of a derelict space station, a group of young space colonizers come face to face with the most terrifying life form in the universe.

• Fede Alvarez
• Rodo Sayagues
• Dan O'Bannon
• Cailee Spaeny
• Isabela Merced
• Archie Renaux
• 2 Critic reviews
• 1 nomination

• Rain Carradine

• All cast & crew
• Production, box office & more at IMDbPro

The Big List of Summer Movies

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Did you know

• Trivia Director Fede Alvarez sought out the special effects crew from Aliens (1986) to work on the creatures. Physical sets, practical creatures, and miniatures were used wherever possible to help ground later VFX work.
• Connections Featured in Nerdrotic: The Acolyte: Force is Female CONFIRMED? The Death of Theaters - The Real BBC @MauLer @HeelvsBabyface (2024)
• When will Alien: Romulus be released? Powered by Alexa
• August 16, 2024 (United States)
• United Kingdom
• United States
• Official Website
• Quái Vật Không Gian: Romulus
• Origo Studios, Budapest, Hungary
• 20th Century Studios
• Scott Free Productions
• Brandywine Productions
• See more company credits at IMDbPro

Technical specs

• Runtime 1 hour 59 minutes
• Dolby Atmos

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‘Deadpool & Wolverine’ Review: Ryan Reynolds and Hugh Jackman’s R-Rated Bromance Is an Irreverent Send-Off to Fox’s X-Men Movies

The raunchy reunion of two Marvel misfits tests Disney standards while giving superhero fans closure on nearly a quarter-century of variable-quality Marvel fare produced across town.

By Peter Debruge

Peter Debruge

Chief Film Critic

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Deadpool can’t die. If he were a character in Greek mythology, that might be a source of tragedy, but in Wade Wilson’s scuzzy corner of the Marvel universe, it functions as a catalyst for off-color comedy instead. Last time the trash-mouthed mercenary headlined a movie, Deadpool could be seen chugging drain cleaner and trying to nuke himself into oblivion — a stunt that sent his extended middle finger flying in Wolverine’s direction. The two heroes have had a long-running rivalry, since both were given regenerative healing powers via the Weapons-X program, but only Wolverine could make grown men cry. Until now.

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Meanwhile, this movie tries to have it every which way. Early on, Deadpool learns that a dude in a suit (not a spandex one, but the business kind) is going around scrubbing worlds that stray too far from the “sacred timeline” (that would be the MCU one of the “Avengers” movies, where death was handled far more reverently). The man’s name is Mr. Paradox, and he’s played by “Succession” star Matthew Macfadyen as a demented corporate stooge. Unless Deadpool can bring back Wolverine, it’s twilight for his time zone.

Mr. Paradox is not much of a villain, though he does represent a fascinating meta-concept: What happens to all the dead-end Marvel properties introduced over the years? A few of them make cameos here, while others are name-checked in jokes meant for super-geeks. The implication is that Deadpool, who was caught in limbo amid the real-world Disney-Fox merger, could be at risk of being canceled, despite having earned the studio $1.5 billion at the box office. What’s a superhero to do to justify his own existence?

The physics of “Deadpool & Wolverine” function more like a Looney Tunes cartoon than your typical comic book, as Deadpool skips around various dimensions without having to explain how he does it (I blame 2023 Oscar winner “Everything Everywhere All at Once” for mainstreaming multiverses). He finds a few next-best alternatives — including a shorter Wolverine who reminds that the ferocious character originally got his name for his compact stature — before landing upon one sporting the yellow costume and black mask made iconic in the comics.

“He’s usually shirtless, but he’s let himself go since the divorce,” Deadpool quips, roasting what he calls the “worst Wolverine,” though this surly, hard-drinking fighter (played by a still-jacked Hugh Jackman) comes off tougher than ever. “The Greatest Showman” did nothing to soften his image. Furrowing his brow and grunting, as if uncertain about being dragged into a comedy, Jackman makes an ideal straight guy to Reynolds’ talkaholic shtick. They trade insults the whole way through, and whenever Deadpool crosses the line, the claws come out and these two indestructible malcontents turn on one another.

No one will accuse Deadpool of good taste. And yet, this film achieves an unexpected poignance when Deadpool and Wolverine are exiled together to The Void, a wasteland overseen by Professor X’s quasi twin, Cassandra Nova (a not-campy-enough Emma Corrin), where orphaned IP goes before being purged forever. There, amid what look like “Mad Max” rejects, the once-mighty 20th Century Fox logo has been tossed aside, à la the Statue of Liberty in “Planet of the Apes.” Like the incinerator at the end of “Toy Story 3,” this is where your nostalgia goes to die, so it’s fitting that it should be crammed full of cameos from misfit Marvel characters (including a card-carrying member of the X-Men who never got his own movie).

Throughout the film, Deadpool wrestles with a desire to “matter.” This wisecracking cancer survivor may be effectively immortal, but that doesn’t mean he won’t be forgotten. When it comes to longevity, these heroes all find themselves at the mercy of both Marvel and the market. In its own uniquely self-aware way, the movie confronts that phenomenon without overstaying its welcome — not just by acknowledging what happens to its two title characters, but especially with the montage that plays over the end credits. It’s a poignant summation of the Fox chapter of the Marvel saga.

Now that he’s back, Deadpool warns Wolverine, “They’re gonna make him do this till he’s 90.” Audiences (and Disney) may well demand it, though this singular mutant satire works best as an irreverent homage to what’s come before, as opposed to the prototype for future superhero movies.

VIP+ Analysis: ‘Deadpool & Wolverine’ Underscores MCU’s Much-Needed Evolution

Reviewed at AMC The Grove 14, Los Angeles, July 22, 2024. MPA Rating: R. Running time: 128 MIN.

• Production: A Walt Disney Motion Pictures Studios release of a Marvel Studios production, in association with 20th Century Studios, TSG Entertainment. Producers: Kevin Feige, Ryan Reynolds, Shawn Levy, Lauren Shuler Donner. Executive producers: Louis D’Esposito, Wendy Jacobson, Mary McLaglen, Josh McLaglen, Rhett Reese, Paul Wernick, George Dewey, Simon Kinberg
• Crew: Director: Shawn Levy. Screenplay: Ryan Reynolds, Rhett Reese, Paul Wernick, Zeb Wells, Shawn Levy, based on the characters created by Rob Liefeld, Fabian Nicieza. Camera: George Richmond. Editors: Shane Reid, Dean Zimmeran. Music: Rob Simonsen.
• With: Ryan Reynolds, Hugh Jackman, Emma Corrin, Morena Baccarin, Rob Delaney, Leslie Uggams, Karan Soni, Matthew Macfadyen.

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