There are action films… and then there’s KILL. From the very first frame, KILL doesn’t just pull you in—it grabs you by the collar, throws you into a crowded Indian train, and slams the emergency brake. The violence isn’t polished. The story isn’t sugar-coated. And the hero? He doesn’t save lives in style—he does it with scars, screams, and silence. This isn’t just an action movie. It’s a war zone inside a train.
A Simple Train Ride Turns Into Hell on Wheels
It all starts like a soft romance. Amrit, an off-duty army commando, boards a train to stop his girlfriend, Tulika, from getting married to someone else. It could’ve been a sweet emotional journey, but about 20 minutes in, things derail completely.
A gang of bandits storms the train, and what begins as a robbery turns into an all-out massacre. The train becomes a trap, and there’s no way out. Just when things start spiraling out of control, Amrit switches from lover to lethal. And the transformation is terrifying.
Lakshya – A Debut That Cuts Deep
Let’s talk about Lakshya. If you were expecting a soft, sweet, romantic hero, think again. His performance is raw and contained, like a ticking bomb. There’s barely any dialogue, and yet you can feel every emotion on his face—from rage to regret.
What works is how physical he gets with the role. He’s not throwing flashy kicks. He’s fighting like a man who’s cornered, desperate, and dangerous. There’s something magnetic about the way he holds back and then explodes when it matters.
The Train Becomes a Character
Most of the film takes place in tight, claustrophobic compartments. And strangely, it works like magic. Every coach feels like a battlefield. The compartments feel like ticking time bombs, and the tension builds with every step.
The cinematography captures the chaos up close. The camera doesn’t zoom out to make things pretty—it stays tight, right in the mess. It’s uncomfortable, but that’s exactly the point.
Dialogue – Sometimes Sharp, Sometimes Sloppy
The writing is a mixed bag. There are moments when the dialogue hits hard, especially when the villains speak. The dialogue delivered by Raghav Juyal is a killer line — “Daakait hai hum sb … usoolo ki baliya chadha rhe hai, batao!” It’s chilling, real, and instantly sets the tone.
But then there are lines like “Gulabi thi, laal ho gayi,” which were meant to be poetic but ended up sounding awkward. In a scene filled with emotion and intensity, that one line made a few people chuckle, not the reaction the filmmakers were aiming for. It didn’t ruin the film, but it did take the weight out of that particular moment.
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A Word on the Violence
There’s no sugarcoating it—KILL is bloody. Knives slash, heads slam, and bones snap. The action is fast, physical, and unfiltered. But it never feels forced. It suits the world the film builds. This isn’t stylised violence—it’s survival.
You feel every hit. You wince with every fall. That’s the level of immersion the film manages to achieve.
What Could’ve Been Better
While the intensity is what makes KILL so powerful, it also means there’s very little time to breathe. A few more emotional pauses might have added depth, especially to Tulika’s story. She’s mostly a passenger in her subplot, and her character could’ve had more to say.
Still, this is Amrit’s story—and it never loses focus.
Final Verdict: A New Breed of Action Cinema
KILL is the kind of film that takes risks and sticks to its vision. It doesn’t care about trends or formulas. It chooses grit over gloss and chaos over calm. And in doing so, it delivers one of the most intense action thrillers Indian OTT has seen in a long time.
If you’re someone who enjoys gritty, no-nonsense action and loves watching bold debuts that skip the clichés, KILL will be right up your alley. It’s the kind of story that keeps you on edge, both emotionally and physically.
Just a fair warning: maybe don’t watch it on your next train journey. After this one, you might find yourself eyeing the pantry car a little too suspiciously.
Written by: Subham Choudhary