In wide release, the hurricane Indian action film "Kill," where everyone fights and cries in the sleeper car of an accelerating train. What came of it — in our review.

Young and handsome commando Amrit (Lakshya) wants to marry the equally young and beautiful Tulika (Tanya Maniktala). The marriage is opposed by Tulika's wealthy and powerful father, who intends to marry his daughter off to the son of a wealthy businessman. The combined capital of the two magnates will provide for the family for years to come. Tulika, of course, disagrees with her father's decision but does not tell him about her secret love, dreaming of slipping away from her parent's watchful eye at the most opportune moment. Soon, that opportunity presents itself.

Tulika, along with her family, takes a train to New Delhi to finally settle all remaining matters regarding the wedding. Amrit is also on the same train. Upon arrival, the young couple has conspired to run away and get married in secret. However, this happy circumstance may be hindered by another problem. Along the way, the train is hijacked by a gang of thugs with knives, simply to rob passengers, taking their wallets and phones. But when they learn that a magnate and his family are in one of the cars, the situation takes a different turn. For the bandits, this is a real jackpot.

The film by Bollywood director Nikhil Nagesh Bhat, "Kill," became a hit not only in its home country but also captivated picky Western filmmakers and critics to such an extent that his production company has already rushed to announce that they will be making an American remake of "Kill." Stahleski can be understood: it's not every day that you get shown up with cool fights without the participation of world screen stars.

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By the way, if we mention Hollywood, "Kill" is a joint product. Lionsgate also had a hand in creating the film, providing a compact runtime and polished visuals. And the Bollywood filmmakers were responsible for everything else, including the rich local flavor, excessive emotionality, and brutal fights. The choreography of which, by the way, was handled by Korean specialist Se Yeong Oh, who directed the fight scenes in the dystopia "Snowpiercer."

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True, this time the director of "Kill" decided to abandon a detailed demonstration of social stratification, as, for example, Dev Patel recently did, limiting himself to only overcrowded sleeper cars and bad weapons that explode at the first shot, which is why the raiders prefer to use knives and hatchets.

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Nikhil Bhat's sources of inspiration are instantly recognizable. There's "The Raid" and the second part of "Under Siege" with Seagal, and the same "Snowpiercer", and even, possibly, "Train to Busan". The director also made a proven bet on stunning ultraviolence, in many ways surpassing his Asian colleagues in this regard. Nikhil Bhat spares no one — neither heroes nor villains. Not all participants will get off at the final station. There will be seas of sweat, blood, and especially tears. The raiders and their victims are members of different large families (but sometimes it seems like one). And every loss, even of one of them, is mourned by both sides long and seriously. This sometimes brings a smile, but Nikhil Bhat is impenetrably serious here.

In general, physicality is one of the main mediators of the film "Kill." The hurricane fistfights take place mainly in the tight spaces of a general car, where it's hard to properly swing. Therefore, the camera often finds itself in a claustrophobic environment with a tight interweaving of arms, legs, knives, and heads of the participants in the brawl. At times, you can physically feel the stuffiness and smell of sweaty undershirts from the screen. But the more inventive the fantasy of the stunts becomes. A couple of scenes from here will definitely go down in the classics of screen fights. At the same time, there is no feeling that the director wanted to jump above his head. Everything is presented broadly but with taste.

And sometimes, pausing between Amrit's insane and furious Berserker mode activations, Nikhil Bhat sadly reflects that all the passengers on this train are deadly tired of everything that is happening. They want to take and live for real, not rob trains, not lose loved ones in senseless violence, and not get married against their will. The director seems to say wearily: Conductor! Hit the brakes!