Toxic Best Action Hindi Movie
Directors : Geethu Mohandas
Writers : Geethu Mohandas Raaghav Vinay Shivagange
Yash
Yash
Stars : Yash Nayanthara Kiara Advani
Toxic Best Action Hindi Movie Review:
Geetu Mohandas’ ambitious ideas struggle to survive in ‘Toxic’, a film dominated by Yash’s star image and visual excess. 50-50. That’s the balance one hopes for when a director and actor with polar-opposite sensibilities come together. You expect their individual styles to meet somewhere in the middle, creating a blend that belongs to both. In Toxic: A Fairy Tale for Grown Ups, the disconnect between two people who see cinema differently is apparent. The result is an ambitious misfire.
Yash, who co-wrote the movie, said Toxic was going to be “a gangster drama with a difference.” He had hinted at an action movie that deals with “an interesting aspect of human life.” The actor was right. The problem is that those ideas are brought to the screen with terrible execution.
The gangster-drama thread revolves around the opium trade in Goa around Independence, when the region was still under Portuguese rule. Raya (Yash), a trusted associate of crime boss Salvador, sets his sights on monopolising the trade. The film’s human side explores Raya’s complicated relationship with women. He is drawn to Rebecca (Tara Sutaria), Salvador’s daughter, but what he feels for her is driven more by need than genuine affection. Things take a turn when he falls in love with Nadia (an impressive Kiara Advani), a circus performer.
Mesmerized by Nadia, a violent and increasingly “toxic” Raya loses focus on the empire he dreams of building. Their love story starts promisingly. Nadia holds a mirror up to Raya’s animalistic attitude. “Next time when you make love, I feel like you care about me and not feel attacked,” she tells him. For a while, Nadia seems to have some semblance of personality amid a host of characters who appear plastic (Sudev Nair, as Raaya’s trusted soldier, is completely wasted). But the relationship never blossoms into anything particularly interesting, as Toxic crams in one plot point after another. Ujwal Kulkarni’s choppy editing only makes matters worse, as does the film’s relentless showboating of Raya.
With Toxic, Yash makes it clear that he is, above all, an image-conscious star. The dialogues of his character, which he is now understood to have written, feel like they belong to the KGF universe. Even his dialogue delivery seems like an extension of his performance in KGF. None of it fits the world of Toxic.
It’s obvious to wonder how this film could have been, had it made room for more drama. I wonder why every conversation between Raya and his lady love had to lead to sex? Why do filmmakers forget the magic of intense conversation? The five main lead female characters (Huma Qureshi and Rukmini being the other two) start off with promise, but don’t get enough room to make a difference to the story.
Geetu Mohandas’ staging often feels painfully artificial. Characters stand around in fixed positions and deliver their lines, as though they are waiting for their turn to speak. There is little movement, spontaneity or unpredictability in these scenes; everything feels very carefully arranged and not particularly lived-in.
Raya turns to violence because, at one point, it is the only way he can save his sister Ganga (Nayanthara). But the violence soon becomes inseparable from him, clinging to him like a second skin. After a while though, the endless gunfire and action sequences begin to feel stale and exhausting. There is neither a compelling reason for Raya’s thirst for blood, nor a worthy adversary to challenge him, until his son Ticket (Yash again), jolts him out of his violent stupor.
Geetu Mohandas’ staging often feels painfully artificial. Characters stand around in fixed positions and deliver their lines, as though they are waiting for their turn to speak. There is little movement, spontaneity or unpredictability in these scenes; everything feels very carefully arranged and not particularly lived-in.
Raya turns to violence because, at one point, it is the only way he can save his sister Ganga (Nayanthara). But the violence soon becomes inseparable from him, clinging to him like a second skin. After a while though, the endless gunfire and action sequences begin to feel stale and exhausting. There is neither a compelling reason for Raya’s thirst for blood, nor a worthy adversary to challenge him, until his son Ticket (Yash again), jolts him out of his violent stupor.
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