Kill (2024) had my attention the moment I heard it described as India’s answer to The Raid and John Wick. Being a fan of both franchises, I walked into the film expecting high-octane action, inventive kills, and that relentless, unforgiving pace that defines the genre. And for the most part, Kill does not disappoint. It’s a savage, unapologetically violent action film set almost entirely on a train, delivering some of the most brutal and creative fight scenes I’ve seen in a while.
The film revolves around Amrit (Lakshya), a special forces commando, and his mission to stop a group of bandits who have hijacked a train heading to New Delhi. His personal stakes in the mission come from Tulika (Tanya Maniktala), the woman he loves, who’s onboard with her family for an engagement she doesn’t want. What begins as a rescue mission soon spirals into a tale of survival as Amrit, along with his fellow soldier Viresh (Abhishek Chauhan), must fight their way through wave after wave of brutal criminals led by the sadistic Fani (Raghav Juyal).
As someone who loves John Wick for its stylish, cleanly choreographed fight scenes and The Raid for its raw, visceral brutality, Kill (2024) sits somewhere in between the two. The action here is relentless and brutal, but also thoughtfully spaced out.
Director Nikhil Nagesh Bhat doesn’t frontload the movie with all the best fight scenes early on. Instead, the action escalates, becoming more intense and personal as the film progresses.
By the time the 45-minute mark hits, and the title card finally drops, the stakes are raised, and the violence becomes deeply emotional.
One of the most impressive things about Kill (2024) is how it uses its confined setting to its advantage. The train’s narrow hallways, cramped compartments, and small spaces force the action to become more creative and claustrophobic. This is where the film truly shines. It’s a playground for close-quarters combat, where every punch, kick, and weaponized object lands with bone-crunching intensity.
Whether it’s a fire extinguisher being used to pulverize someone’s skull or a knife cutting through flesh with disturbing precision, each fight feels fresh and inventive. There’s even a scene involving a flaming head that feels like a callback to the kind of audacious kills I love in John Wick and The Raid.
Lakshya’s portrayal of Amrit is impressive, particularly in the physicality he brings to the role. His transition from a calm, calculated commando to a man driven by rage and desperation is palpable. The action sequences showcase his agility and combat skills, making every punch feel like it counts. However, unlike John Wick, whose world is meticulously built with clear rules and codes of conduct, Kill (2024) doesn’t dwell much on narrative complexity. It’s a straightforward, no-nonsense action film, and the story is there merely to serve as a backdrop for the action.
One area where Kill might polarize viewers is its emotional depth—or lack thereof. Tulika, the damsel in distress, has little agency in the plot, and the romance between her and Amrit feels underdeveloped.
As a fan of action films, I didn’t mind too much because the film clearly knows what it is: an action vehicle. However, for those who enjoy deeper character arcs and emotional beats, Kill (2024) might feel lacking. It’s not trying to explore the ethics of arranged marriage or delve into complex emotional dynamics. It’s about fists, blood, and survival.
That said, the film does add an interesting layer to its villains. Fani, played by Raghav Juyal, isn’t your typical one-note bad guy. His sadism is paired with a strange charisma, and he oscillates between cracking jokes and committing brutal acts of violence. Juyal’s performance is unsettling in the best way, adding a layer of unpredictability to the film. What’s even more fascinating is that the villains aren’t just faceless bodies to be mowed down. They are part of a family—a band of outlaws with personal connections to each other. When Amrit takes one of them out, it feels personal, not just for him but for the remaining criminals as well. It’s a small but effective touch that humanizes the bad guys, giving the film a bit more emotional weight than your average action flick.
Speaking of emotional weight, the action in Kill (2024) escalates in a way that mirrors Amrit’s psychological journey. In the first half of the film, his moves are calculated, methodical. He’s the trained commando, operating with precision.
But as the film progresses and his desperation grows, the action becomes more savage, more primal. It’s clear that Amrit’s fighting not just for survival, but for something deeper—for the people he cares about.
In that way, Kill (2024) does echo some of the emotional stakes we’ve seen in The Raid and John Wick, where the fights aren’t just about taking down enemies, but about personal vengeance, about loss.
Another aspect that Kill (2024) nails is its pacing. While I’m always a bit wary of films that rely too heavily on action without giving the audience moments to breathe, Kill manages to find a balance. The fight scenes are intense, but they’re spaced out enough to maintain suspense. You know another fight is coming, but Bhat lets the tension build before unleashing another round of chaos. When the action does hit, it’s relentless, and the film moves at a breakneck pace, particularly in its final act.
What really impressed me, as a fan of the genre, is how Kill (2024) combines the best elements of its influences while still feeling uniquely its own. There’s the grounded, brutal hand-to-hand combat that fans of The Raid will love, and the stylish, almost operatic violence that echoes John Wick. But Kill also brings its own flavor to the mix. The cultural specificity—like the underlying tension of Tulika’s arranged marriage and the familial bonds among the outlaws—gives the film a distinct identity that sets it apart from its Hollywood counterparts.
The confined setting of the train also adds to the film’s tension. Director Nikhil Nagesh Bhat uses every inch of the train to craft inventive fight scenes, from narrow hallways to cramped compartments. There’s a sense of claustrophobia that heightens the intensity of each battle. As someone who loves the creative choreography in The Raid and the world-building in John Wick, I appreciated how Kill (2024) used its limited setting to amplify the action rather than restrict it.
Kill (2024) succeeds in what it sets out to do: deliver a brutal, unrelenting action film that keeps you on the edge of your seat. It may not have the emotional depth or world-building of John Wick or the raw, grounded intensity of The Raid, but it more than holds its own as a savage, thrilling ride. For fans of the genre, it’s a must-watch, and for me, it’s one of the standout action films of the year. If you’re craving relentless, creative action with a side of blood and guts, Kill (2024) delivers.
