Film

KILL

Name: KILL
Genre: Action, Crime, Thriller
Released: 2024
Cast: Lakshya, Raghav Juyal, Tanya Maniktala, Ashish Vidhyarthi, Abhishek Chauhan

Other titles called KILL: the 1968 film.

Military action
Relentless

A lean, brutal action film set aboard a train hurtling toward Delhi. An army commando fights a gang of knife-wielding thieves in a confined space where every movement costs blood. It's visceral and darkly funny, shot with real craft. For anyone who wants their action intimate and unglamorous.

TMDb rating

3.6

Should you watch it?

Watch it if you want a lean, nearly nonstop train-bound brawl where the choreography is the point and the plot is a clean, simple engine for it.

Skip it if the violence is relentless and graphic, and the love story driving it is thin, so if sustained brutality wears you down, this will be hard going.

What it asks of you: Runtime is a brisk 105 minutes, and it rarely lets up, so there is little room to drift before the blunt, grim tone takes hold.

Not sure? Find tonight's pick in a minute.

If you liked this

Raid2018

A tense, claustrophobic thriller about a tax officer and a crime boss in a single apartment. Like Kill, it trusts its premise and location completely, wringing maximum tension from minimal space.

But The protagonist is self-righteous, and the moral universe never complicates itself. It's a slab of justice fantasy.

Rosemary's Baby1968

A lean espionage thriller that moves like a bullet. Akshay Kumar plays an operative in a secret task force hunting terrorists across continents. Same economic storytelling; same refusal to waste a frame.

But The second half gets more conventional. The early inventiveness doesn't quite sustain.

A Thursday2022

Yami Gautam as a teacher holding her classroom hostage, making a political stand. It's a single-location pressure cooker that understands how to weaponize dialogue. Morally thorny in ways Kill respects.

But The final twist divides audiences sharply. Some find it earned, others feel betrayed by it.

Not sure tonight? Get a pick in a minute, starting from KILL

The wildcard

Something you would not have found on your own.

Pather Panchali1955

Both understand that violence—physical or circumstantial—lives in the texture of a place, and that real people moving through real space is more compelling than any set piece.

Satyajit Ray's debut about a poor Bengali family. It's revolutionary cinema about ordinary lives in real spaces—the ancestor of everything Kill does with location and performance. Watching it, you understand where modern Indian narrative comes from.

But It moves at documentary pace and makes no concessions to plot urgency. Modern viewers often find it slow, though once it has you it's hypnotic.

Khiladi2023

Akshay Kumar as a stuntman framed for a crime he didn't commit. It has Kill's propulsive momentum and a genuine mystery underneath the action. Clever about misdirection.

But The plot depends on coincidence more than it should. Sometimes it feels like it's asking you not to think too hard.

Special OPS2020

Kay Kay Menon in a razor-sharp espionage miniseries hunting the Mumbai 26/11 terrorists. Paranoid, intelligent, propulsive. Every episode costs you sleep.

But It demands your full attention and will not repeat exposition. If you look away, you lose the thread.

The Cleaning Lady2022

Elodie Yung as a woman forced into a criminal underworld while protecting her son. Propulsive and morally murky, with a female lead in the kind of raw, sweaty genre space Kill inhabits.

But American network TV occasionally softens the edges where you don't want softening. The tone wavers.

Cold Pursuit2019

Liam Neeson as a snowplow driver hunting the drug dealers who killed his son. Minimalist and dark, structured like a countdown. Kin Monachrome in execution and feeling.

But It's deliberately bleak and funny in ways that won't land for everyone. Some will find it coldly cynical.

Badlapur2015

Varun Dhawan as a man consumed by revenge across fifteen years. It's brutal about what vengeance actually costs. Raw performances, real violence, refusal to let you feel comfortable.

But It's relentlessly dark and offers no catharsis. The tone will exhaust some viewers.

Aurangzeb2013

Arjun Rampal as a police officer in a moral maze, betrayed by everyone. It has Kill's interest in stripped-down action and men undone by circumstance, minus the humor.

But It drowns in its own noir atmosphere sometimes. The pacing sags in the middle hour.

Slender Man2018

Both films understand that a train is a perfect pressure cooker—nowhere to run, strangers locked together—and that constraint breeds better storytelling than open space ever could.

A horror film structured around a train sequence where teenagers confront something unknowable in confined quarters. It's silly, but it understands momentum and the geometry of threat in an enclosed space in ways that rewire how you see movement.

But It's a poorly-received teen horror film. The premise sounds absurd, and the ending divides people sharply.

Raging Bull1980

Both films are uninterested in making violence cathartic or clean. Both ask: what does it do to you to hurt people, even people who deserve it? Both answer: it breaks you, not them.

Scorsese's black-and-white assault on masculinity: Jake LaMotta destroying everyone he loves because he cannot destroy himself. It's about male violence as pathology, not heroism. Every punch is anguish. The rawness of Kill echoes here.

But It's austere, repetitive, and offers no redemption. LaMotta is monstrous, and the film loves him anyway. Modern audiences often find it punishing.