A twisted view of filial piety seems like it could be an interesting take — but the film doesn’t satisfy; it’s lacking humour, romance, a substantial plot, meaningful dialogue (excepting the ending speech), and especially… any character growth. Maybe you don’t mind the glorification of violence and misogyny, and only pressed play for gory fight scenes… sorry to say, they also suck. At the end, you’re left thinking all characters are stupid and instead of 3h21m they could’ve done better in just 21m.

The film drags on with insubstantial plot, but never gets around to the ‘why’ of Ranbir’s character. He isn’t presented as a sympathetic hero with deep flaws, just a violent obsessive killer who somehow happens to be the main character. He’ll jump at every chance to commit violence on ‘behalf’ of his family as the ‘man’ of the house… even when they beg him not to. He’s desperate for attention from his father, but dismissive of all others who try to connect, especially women. Decades pass but he seems unable and unwilling to form a relationship more meaningful than the father-son relationship he obsesses over, even after having children of his own. We seem one doctor’s visit or traumatic childhood flashback away from a severe mental diagnosis, but it never materializes. All his decisions make no sense — actually no one’s decisions make sense — why is violence the first and only option? It’s not like that’s what father taught him, they don’t actually spend time together! Why does the girl leave her fiancé to marry him, when he’s so unlikeable and makes her cry? Why did the director even bother filming the actresses’ faces, if he was going to spend the entire film treating them like bodies speaking into the void? Actually if he'd replaced the actresses with mannequins I would've found the film MORE interesting, I could have pretended it was the film’s attempt at clever social commentary. Instead of whatever point he was trying to make with the catheter speech.

It can be said that all actors did well in given roles, which by the script was limited for all but Ranbir. He showed great commitment and vigor to the deranged and emotionally immature character but even he can’t bring depth where there is none in the script.

But ok, let’s say we hit play for gory fight scenes only. I love a good revenge thriller, but this film was not John Wick or Liam Neeson in Taken. This was an unlikeable character who makes unequivocal decisions favoring gratuitous violence on behalf of people he claims to love but never listens to, basically throwing several temper tantrums with flashy artillery. The scenes feel abrupt, as if Vanga was paid to fill a quota of gunshots and blood sprays, the way other Bollywood films decide on the songs first and edit film to fit. Look at the way blood splashes on that face, look at the shiny masks and axes, look at the giant gun — just don’t look at the paper-thin plot or the lacklustre fight choreography. The culminating fight is the most bizarre of all: a slow dance where both opponents eschew guns and goons, slowly stripping for each other between punches, building a weirdly charged connection that ends in a climactic spurt of blood. Both had such a strong inclination to violence it would be impossible without context to tell which was supposed to be the ‘hero’… instead you almost pity them for the relationship they could have had as equals on the same side. The end is just as abrupt and uncomfortable, with a highly emotionally charged speech that once again includes violence but resolves nothing.

It’s not the characters flaws that are the problem, it’s that the script and director doesn’t give us anything else — ALL the characters become unlikeable, either through their actions or their impotent lack of action. The best bad boys are the ones that can be explained, that just the right touch could ‘fix’ — this film’s protagonist isn’t the bad boy, he’s not even the villain with a heart. He’s the abusive ex who might be the reason you wind up dead.

Overall, give this a miss. In fact, based on this I’m prepared to give all Vanga’s works a miss. You want a tense father-son relationship? Re-watch K3G. You want violence? Anurag Kashyap has you covered. Ranbir’s acting is on par with South Indian superstars, but as both action and drama, the film was a flop.

Brahmastra mai Alia ne Shiva Shiva bolke Ranbir ko pakaya. Edhar Ranbir Papa Papa Papa karke hume pakaya. The cycle of pain is real. Every single time, Ranbir utters papa, do one push-up and by the end of the film, you will probably die with a 12 pack.
Coming to the point, there are no police in this universe. No one gives a shit about how many guns they own and how many people Ranvijay killed. Even Anil Kapoor as his father was very thanda. Like, i expected some deadly character but Vanga Sensei copied the plot of Godfather not the characteristics. So, here Don Carolene is thanda af. Now, coming to the jamal Kudu part, Lord Bobby is brilliant as the antagonist but his importance to the plot is as much as my importance in my crush's life. My guy came, molested a kid half his age, gave some weird expression with his gay brother and he disappeared. Our Ranvijay killed him without any huge consequences. He was so chill that he even allowed Bobby to smoke a cigarette lying on his back. Such brotherly love is very rare in Indian cinema.

Anyway, my point is the movie has no plot, director got too much inspired from Tarantino and slasher movies and Godfather and decided to make the most problematic movie of the century because controversy sells right?
1 star for Ranbir Kapoor. He gave his best performance. Rashmika was trying her best to sound as bad as Di Caprio speaking Sanskrit. Everyone was bad. And another half star for the BGM. Brillaint work. They should have made this 3 hour epic into a short film. Thank you, Vanga Sensei for giving us our own desi Patrick Bateman.

Ranbir Kapoor preaches dominance in this wild, unhinged & blood soaked rampage of an obsessed son with umpteen shades of gray

Animal is an unapologetic display of cinematic brilliance which by far will be the most polarising film of the year. Witnessed absolute carnage when the insanely choreographed interval block comes. Worth your money. Vanga's book of filmaking is certainly defies Indian School of filmaking as it breaks all stereotypes and challenges the critics with a more wierd and lunatic approach. A father son bond carved in blood, an obsessed son seeking the only validation from his father, power hungry dynamics within the family and conflicting relationship of the protagonist with his wife serves the core of the film. In short, Ranbir embodies the character by heart and delivers a riveting performance for film schools to make a case study of. Sandeep Reddy Vanga restablishes himself as director who defies all odds and keeps no stone unturned when he adds the grays to his lead characters. While the film shines because of the leading man Ranbir, exceptional music and the 2 stylishly choreographed action set pieces and obviously the meticulously written dialogues. What's dissapointing is the underdeveloped antagonists and a stretched husband wife dynamic which stretches a tad too long.


Performances

When Vanga said this is what violence means, we never expected this much mayhem. Ranbir Kapoor has outshined every other actor in the fraternity with this haunting and consumed characterisation. His dialogues, multiple looks and rage is a force to reckon with. Rashmika however trolled she might have been , she is quite formidable in scenes she had to deliver. There is a serious problem in her Hindi diction which may have affected her performance a bit. Anil Kapoor exceptional as he also presents vulnerability and disagreements when required. The heartbreaking fact is the Lord Bobby is criminally given less screen time and that will be debated by everyone. His screen presence is just terrorizing for the spectators. Missed Opportunity. Tripti Dimri is magical onscreen. Wished she was Bhabhi no.1.


Music and Background Score

The music is given by Vishal Mishra and Manan Bharadwaj. They have literally given gems as songs and the integration of the songs is extremely surreal. Credita to Vanga , being a Telugu speaking Director has got this on point. Be that a hardcore Arjan Vailly during the Interval block, a mesmerizing Hua Main , a resonating Papa Meri Jaan or the love song of the year Pehle Bhi Main. Each song and beats during the dramatic turn of events is magical and adds a crucial part of the screenplay.

Questionable Glorification of A Criminal

In Vanga's world , ethics and morality have always been the backbenchers. He writes obsessive characters whether its Kabir for Preeti or Vijay for Balbir, there is no right or wrong. While the obsession to safeguard his father is justifiable to some extent, the dominating and edgy dynamics between Ranbir and Rashmika is something not easily digestible. There is a sense of wierdness which Vanga loves to introduce which is voluntary. He knows moments which will trigger critics, audiences and help create more buzz and debates which eventually helps in box office footfalls. Vanga is a smart man. The writing is brilliant except some underused chacaters, while many may not share the same feeling as me , the dynamics of power leading to all the chaos is rightfully justified.

Watch or Not?

The film is a ticking time bomb, which has everything you have not expected from a Bollywood film. Breaks every stereotype unabashedly courtesy Vanga Sir. If you are a person who gets easily triggered, or has set standards how far a film's scenes are limited to, have allergies seeing bloodshed then stay away from this. If you are a Vanga fan, Ranbir Fan or a fan of unique storytelling without getting influenced then Animal deserves your time. Our country is filled with emotionally weak individuals and cinema has a lot of influence. The tone of the sexism should always be in check when you cater to such large emotional audience. I am afraid if people will draw inspiration from Ranbir's character instead of just watching it for entertainment. That will be a loss for Indian Cinema. Watch with care.

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