Yannick Ben’s choreography is marvelous in the scene — one that deftly folds in a pinch of hilarity to the commercial masala fights we’ve grown up enjoying.
Lokesh Kanagaraj’s flair for constructing indelible action sequences has never once been overlooked by audiences. What begins as a simple ask for chocolate coffee, ends with some good old kicks, punches and irrecoverable third degree coffee burns.
In Animal, this scene plays out with a rugged Ranbir Kapoor picking out an axe to brutally, and indiscriminately murder scores of men, with Arjan Vailly” playing the background, after their guns run out of bullets, and they are ridiculously outnumbered.
Gadar 2has the audacity to spend screen time with a frame JUST focusing on the handpump. It is a relic from the first Gadar, its very mention enough to send shivers down the spine of the power-hungry moulvis after Tara Singh (Sunny Deol).
In Pathaan, Deepika Padukone's action sequences are pure dynamite. Rubai takes down her enemies in style — flinging champagne bottles with precision, executing slick flips to handle bad guys, and stealing the spotlight every time she brandishes a gun.
A striking moment in Joram features Bajpayee, as a desperate Adivasi man on the run with his infant daughter, dodging the Mumbai police on a moving train to Jharkhand. The tension is hardly conventional.
‘Ravana Dahanam’ sees a bloody wild reenactment in the climax of Dasara. In a 12-minute-long combat scene, countless men get stabbed in violent ways, creating a couple of the most striking images this year's Telugu cinema had to offer.
You have to see it to believe why it is brilliant. Manu goes and beats up the same antagonist (as Side A) outside prison. This time, it is the potential loss of his partner-in-crime Surbhi that motivates him to let loose incredible violence.
How does one even stage chaos like this? Nithin Krishnamurthy’s debut feature film was promoted as a cinema verite-infused campus comedy that took place in a boy’s hostel of an engineering college.