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Beast Review: మూవీ రివ్యూ: బీస్ట్

టైటిల్: బీస్ట్ రేటింగ్: 2/5 తారాగణం: విజయ్, పూజా హెగ్డే, సెల్వరాఘవన్, వీటీవీ గ‌ణేష్, యోగిబాబు, అపర్ణా దాస్ తదితరులు కెమెరా: మనోజ్ పరమహంస ఎడిటింగ్: ఆర్. నిర్మల్ సంగీతం: అనిరుధ్ నిర్మాత: కళానిథి మారన్ దర్శకత్వం: నెల్సన్ విడుదల తేదీ: 13 ఏప్రిల్ 2022

విజయ్ హీరోగా వస్తున్న చిత్రమనడంకన్నా "అరబిక్ కూతు..." పాటున్న సినిమా అంటే అందరూ ఈజీగా కనెక్టవుతారు.

పాటని చేసి విడుదల చేయడమే తప్ప ఏది ఎందుకు వైరలువుతుందో తెలియని రోజులివి. ఒకరకంగా లాటరీ తగిలినట్టు ఈ సినిమాలోని ఈ పాట విడుదలకి ముందే ఒక ఊపు ఊపేసింది. అదే ఈ సినిమాకి ప్రచారాస్త్రమయింది..మరొక పబ్లిసిటీ స్టంట్ అవసరం లేకుండాపోయింది.

సరే...ఇంతకీ సినిమాలో ఏముంది?

మొదటి నుంచీ చెబుతున్నదే...చెన్నైలోని ఒక షాపింగ్ మాల్ ని టెర్రరిస్టులు తమ ఆధీనంలోకి తీసుకుంటే అందులోనే ఇరుక్కున్న ఒక గూఢచారి బందీలని ఎలా రక్షించాడు, తీవ్రవాదుల్ని ఎలా తుదముట్టించాడన్నది ప్రధానమైన కథ.

ఇలా ఔట్లైన్ చెప్పేసి మరీ థియేటర్స్ కి రప్పించడమంటే తమ మేకింగ్ మీద మేకర్స్ కి ఉన్న నమ్మకం అనుకోవాలి.

మరి ఆ నమ్మకం నిలబడిందా? సినిమాని నిలబెట్టిందా? చూద్దం..

కథ పరంగా సీరియస్సే. కానీ పాత్రలు సీరియస్ గా బిహేవ్ చేయవు. ఒకరకంగా ఫార్స్ కామెడీతో నడిచే యాక్షన్ చిత్రమిది. ఈ జానర్లో చిత్రాలు వస్తుంటాయి కానీ పెద్ద స్టార్ ని పెట్టుకుని తీయడం మాత్రం సాహసమే. 

విజయ్ లాంటి మాస్ హీరో సినిమా అనగానే సీరియస్ యాక్షన్, రొమాన్స్, పాటలు, హీరో బిల్డప్..ఇలాంటివి ఆశించడం సహజం. కానీ దానికి భిన్నంగా ప్రయోగం చేస్తే ఫలితం అనుకున్నట్టు రాకపోవచ్చు. 

ఇదే సినిమా మిడ్ రేంజ్ హీరోతో "వరుణ్ డాక్టర్" టైపులో తీస్తే సేఫ్ అవుతుంది కానీ పెద్ద స్టార్ తో బెడిసికొట్టే అవకాశాలే ఎక్కువ. 

కథలో లాజిక్ వెతికే పని అస్సలు పెట్టుకోకూడదని, యాక్షన్ సినిమాయే కానీ కామెడీ యాంగిల్లో చూడమని మైండ్ ని ట్యూన్ చేసే పనైతే పెట్టుకున్నాడు దర్శకుడు. ఎలాగంటే...తిహార్ జైల్లో ఉన్న అంతర్జాతీయ పాకిస్తానీ మిలిటెంట్ ని విడుదల చేయించడానికి షాపింగ్ మాల్ హైజాక్ ప్లాన్ వెస్తారు టెర్రరిస్టులు. అయితే ముందుగా ఆ జైల్లో ఉన్న మిలిటెంట్ ని చాలా బిల్డప్పుతో చూపిస్తాడు లో-యాంగిల్ షాట్లో. తీరా అతను విడుదలయ్యి బయటికొస్తున్నప్పుడు అర్థమవుతుంది అతనొక మరుగుజ్జు అని.  ఈ అనుకోని సీన్ తో సహజంగానే సీరియస్నెస్ తగ్గి నవ్వొస్తుంది. ఇలాంటివే చాలా ఉన్నాయి. 

ఎవరి పర్మిషనూ లేకుండా అప్పటికప్పుడు ఫైటర్ జెట్ ప్లేన్ ఎరేంజ్ చెసేసుకోవడం, బిలీవబిలిటీకి కొన్ని కాంతి సంవత్సరాల దూరంలో ఉండే స్టంట్స్ చేయడం ఇందులోని హీరో ప్రత్యేకత. టెర్రరిస్టులు బులెట్ల వర్షం కురిపిస్తున్నా మచ్చుకి ఒక్కటి కూడా హీరోకి తగలదు. అదే మన హీరో యాధృచ్ఛికంగా షూట్ చేసినా టెర్రరిస్టులు ఢమాల్న పడిపోతారు. ఈ తరహా స్టంట్స్ దశాబ్దాలుగా చూసి చూసి విసుగొచ్చినా ఈ ఫార్సికల్ నెరేషన్లో తప్పదు. 

80% కథ షాపింగ్ మాల్లోనే జరుగుతుంది. ఒక పెద్ద స్టార్ సినిమాకి... పైన చెప్పుకున్నట్టు ఇలాంటివే మైనస్. 

బ్యాక్ గ్రౌండ్ స్కోర్ పెద్ద గొప్పగా లేదు. ఇతర సాంకేతిక విలువలన్నీ బాగానే ఉన్నాయి. 

వీటీవీ గణేష్ డైలాగ్స్ అన్నీ గొప్పగా లేకపోయినా సాధ్యమైనంతవరకూ అక్కడక్కడ నవ్వించగలిగాయి. సెల్వరాఘవన్ కూడా కాసేపు గుర్తుండే పాత్రలో కనిపించాడు. 

పూజ హెగ్డేది అసలు ఇంపార్టెన్సే లేని కేరక్టర్. రెండు పాటలకి తప్ప దేనికీ ఉపయోగపడలేదు. అన్నట్టు సినిమాలో ఉన్నవే రెండు పాటలు. 

కథ ఎలా రాసుకున్నా, ట్రీట్మెంట్ మాత్రం పక్కా కామెడీగా ఉండాలని డిసైడైపోయి తీసిన సినిమా ఇది. అలాగని కమెర్షియల్ గా పాటలుండాలని ఫార్ములా ఫాలో కాలేదు. 

బీ,సీ మైండ్ సెట్ ఉన్న ఆడియన్స్ కి, పిల్లలకి ఈ సినిమా నచ్చొచ్చు. తక్కిన ఆడియన్స్ మాత్రం నిర్మొహమాటంగా పెదవి విరిచేస్తారు. 

బాటం లైన్: ఫార్స్ కామెడీ

అందరూ ఒక వైపు.. ఆ ఒక్కడూ మరో వైపు

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Beast Movie Review: విజయ్‌ ‘బీస్ట్’మూవీ రివ్యూ

Beast review: విజయ్‌ కథానాయకుడిగా నటించిన ‘బీస్ట్’ ఎలా ఉందంటే?

చిత్రం: బీస్ట్‌; నటీనటులు: విజయ్‌, పూజా హెగ్డే, సెల్వరాఘవన్‌, యోగిబాబు, వీటీవీ గణేశ్‌, రెడిన్‌ కింగ్‌స్లే తదితరులు; సినిమాటోగ్రఫీ: మనోజ్‌ పరమహంస; ఎడిటింగ్‌: ఆర్‌.నిర్మల్‌; సంగీతం: అనిరుధ్‌; నిర్మాత: కళానిధి మారన్‌; రచన, దర్శకత్వం: నెల్సన్‌; బ్యానర్‌: సన్‌ పిక్చర్స్‌; విడుదల: 13-04-2022

వేస‌వి సినిమాల జోరు ఇప్పటికే మొద‌లైంది. ఈ వారంలో విడుద‌ల‌వుతున్న‌ది రెండూ అనువాద చిత్రాలే.  ఒక‌టి... బీస్ట్‌, మరొక‌టి.. ‘కేజీయఫ్‌2’.  వీటిపై ప్రేక్ష‌కుల్లో ఉన్న ఆస‌క్తి అంతా ఇంతా కాదు. తెలుగు మార్కెట్ విష‌యంలో మొద‌ట కాస్త వెన‌క‌బ‌డిన‌ట్టు అనిపించిన విజ‌య్‌... ‘తుపాకీ’ నుంచి పుంజుకున్నారు. అప్ప‌ట్నుంచి ఆయ‌న న‌టించిన ప్ర‌తీ సినిమా త‌మిళంతోపాటుగా... తెలుగులోనూ విడుద‌ల‌వుతుంటుంది. ఈ వారం ‘బీస్ట్‌’ విడుద‌ల‌వుతోంది. ప్ర‌చార చిత్రాలు ఆస‌క్తి రేకెత్తించాయి. మరి చిత్రం ఎలా ఉంది? విజయ్‌ పాత్ర ఏంటి?( Beast Movie Review)

క‌థేంటంటే: మాజీ రా ఏజెంట్ వీర రాఘ‌వ (విజ‌య్‌)( Vijay ). ఉద్యోగం కోస‌మ‌ని చెన్నైలోని ఈస్ట్ కోస్ట్ మాల్‌లోకి వెళ‌తాడు. అప్పుడే ఆ మాల్‌ని ఐ.ఎస్‌.ఐ ఉగ్ర‌వాదులు హైజాక్ చేస్తారు. 150 మంది  సామాన్య జ‌నాన్ని బందీలుగా చేస్తారు. వాళ్ల‌ని విడిచిపెట్టాలంటే  భార‌త‌జైల్లో ఖైదీగా ఉన్న త‌మ నాయ‌కుడు ఉమర్‌ని విడుద‌ల చేయాల‌ని డిమాండ్ చేస్తారు. మ‌రి వీర రాఘ‌వ ఆ మాల్‌లో ఉన్న సామాన్య ప్రజల్ని ఎలా కాపాడాడు?( Beast Movie Review) ఉగ్ర‌వాదుల‌తో అత‌ని పోరాటం ఎలా సాగిందనేది మిగ‌తా క‌థ‌.

ఎలా ఉందంటే: హైజాక్ డ్రామాతో రూపొందిన చిత్ర‌మిది. ఉగ్ర‌వాదులు బందీలుగా చేసిన‌ వాళ్ల‌ల్లో ఒకరు హీరో అయితే ఎలా ఉంటుంద‌నే అంశాన్ని ఆధారంగా చేసుకుని ఈ క‌థ‌ని అల్లారు. ఇలాంటి క‌థ‌లు ఎంత వాస్త‌విక‌త‌తో తెర‌కెక్కితే అంతగా ప్రేక్ష‌కుల్ని ఆక‌ట్టుకుంటాయి. విజ‌య్( Vijay ) అలా ఇదివ‌ర‌కు ‘తుపాకీ’ చేసిన విజ‌యాన్ని అందుకున్నారు.( Beast Movie Review) అందులో హీరో చేసే ఆప‌రేష‌న్స్ న‌మ్మ‌ద‌గిన‌ట్టుగా ఉంటాయి. బ‌ల‌మైన ర‌చ‌న వ‌ల్ల అడుగ‌డుగునా వాస్త‌విక‌త ఉట్టిప‌డుతుంది. కానీ, ఈ సినిమా విష‌యంలో మాత్రం వాస్త‌విక‌త ఎక్క‌డా క‌నిపించ‌దు. ప్ర‌తీచోటా హీరోయిజాన్ని హైలైట్ చేయాల‌నే ప్ర‌య‌త్న‌మే త‌ప్ప‌, స‌న్నివేశాల్లో లాజిక్ ఉందా? లేదా? అని చూసుకున్న‌ట్టు లేరు ద‌ర్శ‌కుడు.( Beast Movie Review)   దాంతో ఇది ఫ‌క్తు విజ‌య్ అభిమానుల సినిమాగా మారిపోయింది త‌ప్ప‌, సాధార‌ణ ప్రేక్ష‌కులకి రుచించే అంశాలు పెద్దగా క‌నిపించ‌వు.

సినిమా మొద‌లైన విధానం బాగానే ఉంది. యాక్ష‌న్ ఘ‌ట్టాలు, కామెడీ, పాట‌లతో ప్ర‌థ‌మార్ధం బాగున్నా, ద్వితీయార్ధం పట్టు తప్పింది. ప‌స లేని స‌న్నివేశాలు ఏమాత్రం ఆస‌క్తినివ్వ‌వు. తెర‌పై హైజాక్ వాతావ‌ర‌ణం ఎక్క‌డా క‌నిపించ‌దు. ఉగ్ర‌వాదులు ఇందులో జోక‌ర్ల‌లా క‌నిపిస్తారు. హీరో( Vijay ) ఏద‌నుకుంటే అది చేసేస్తుంటాడు. అక్క‌డికక్క‌డే డ్రెస్‌లు మార్చేసుకుంటుంటాడు, అప్ప‌టిక‌ప్పుడు ఉగ్ర‌వాదుల్లో క‌లిసిపోతుంటాడు. అత‌ను ఏం చేసినా ఆపేవాళ్లు ఎవ్వ‌రూ క‌నిపించ‌రు. అన్నిచోట్లా అభిమానుల‌తో ఈల‌లు కొట్టించేలా హీరోయిజం ప్ర‌ద‌ర్శ‌నే.( Beast Movie Review) ప‌తాక స‌న్నివేశాలు మ‌రో ఎత్తు. హీరో పాకిస్థాన్‌ వెళ్లిపోయి అక్క‌డి నుంచి ఉగ్ర‌వాద నాయ‌కుడిని తీసుకొచ్చేస్తాడు. సీరియ‌స్‌గా సాగాల్సిన ఈ హైజాక్ డ్రామాలో కామెడీని చొప్పించాడు ద‌ర్శ‌కుడు. వ‌య‌సు మీద ప‌డిన సెక్యూరిటీ గార్డులు, వాళ్ల‌తో పని చేయించుకునే సెక్యూరిటీ ఆఫీస‌ర్ క‌లిసి చేసే సంద‌డి అక్క‌డ‌క్క‌డా న‌వ్విస్తుంది.  మిగ‌తా న‌టుల కామెడీ అంత‌గా పండ‌లేదు. సీరియ‌స్‌గా క‌థ‌ని న‌డుపుతూనే కామెడీని పుట్టించ‌డం ద‌ర్శ‌కుడు నెల్స‌న్ శైలి. ఈ సినిమా విష‌యంలో అది పూర్తిస్థాయిలో ఫ‌లితాన్నివ్వ‌లేదు.

ఎవ‌రెలా చేశారంటే: విజ‌య్( Vijay ) త‌న స్టైల్‌తోనూ, మేన‌రిజంతోనూ మురిపించారు. అభిమానుల‌కి ఆయ‌న ఇందులో మ‌రింత‌గా న‌చ్చుతారు. అర‌బిక్ కుతు పాట‌లో విజ‌య్‌, పూజాహెగ్డే  డ్యాన్సుల‌తో అద‌ర‌గొట్టారు.  కానీ, పూజాహెగ్డేకి ఇందులో బ‌ల‌మైన పాత్ర ద‌క్క‌లేదు. సినిమాలో ప్ర‌ధాన విల‌న్ అంటూ ఎవ్వ‌రూ క‌నిపించ‌రు. సెల్వ రాఘ‌వ‌న్ రెస్క్యూ ఆప‌రేష‌న్ ఇన్‌ఛార్జ్‌గా క‌నిపిస్తారు. మిగిలిన పాత్ర‌ల‌కి పెద్ద‌గా ప్రాధాన్యం లేదు. సాంకేతికంగా సినిమా ఉన్న‌తంగా ఉంది. మ‌నోజ్ ప‌ర‌మహంస  కెమెరా ప‌నిత‌నం ఆక‌ట్టుకుంటుంది. అడుగ‌డుగునా రిచ్‌నెస్ క‌నిపిస్తుంది. అనిరుధ్ సంగీతం చిత్రానికి మ‌రో ప్ర‌ధాన‌బ‌లం. పాట‌లు, చిత్రీక‌ర‌ణ‌, నృత్యాలు ఆక‌ట్టుకునేలా ఉంటాయి. నిర్మాణ విలువ‌లు ఉన్న‌తంగా ఉన్నాయి. దర్శ‌కుడు  రాజ‌కీయంతో ముడిపెడుతూ రాసుకున్న హైజాక్ డ్రామా కాన్సెప్ట్ బాగానే ఉంది. కానీ ర‌చ‌న‌లో బ‌లం లేక‌పోవ‌డం సినిమాని బ‌ల‌హీనంగా మార్చేసింది.

బ‌లాలు

+ ప్ర‌థ‌మార్ధం

+ విజ‌య్ న‌ట‌న‌, స్టైల్‌

+ సంగీతం.. ఛాయాగ్ర‌హ‌ణం

బ‌ల‌హీన‌త‌లు

- వాస్త‌విక‌త లేని స‌న్నివేశాలు

- ఆస‌క్తి రేకెత్తించ‌ని క‌థ‌నం

చివ‌రిగా: ‘బీస్ట్’... విజ‌య్ అభిమానుల‌కే న‌చ్చాలేమో!

గమనిక: ఈ సమీక్ష సమీక్షకుడి దృష్టి కోణానికి సంబంధించింది. ఇది సమీక్షకుడి వ్యక్తిగత అభిప్రాయం మాత్రమే!

• Beast review
• pooja hegde
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• cinema review

గమనిక: ఈనాడు.నెట్‌లో కనిపించే వ్యాపార ప్రకటనలు వివిధ దేశాల్లోని వ్యాపారస్తులు, సంస్థల నుంచి వస్తాయి. కొన్ని ప్రకటనలు పాఠకుల అభిరుచిననుసరించి కృత్రిమ మేధస్సుతో పంపబడతాయి. పాఠకులు తగిన జాగ్రత్త వహించి, ఉత్పత్తులు లేదా సేవల గురించి సముచిత విచారణ చేసి కొనుగోలు చేయాలి. ఆయా ఉత్పత్తులు / సేవల నాణ్యత లేదా లోపాలకు ఈనాడు యాజమాన్యం బాధ్యత వహించదు. ఈ విషయంలో ఉత్తర ప్రత్యుత్తరాలకి తావు లేదు.

రివ్యూ: కల్కి.. టొవినో థామస్‌ యాక్షన్‌ ఫిల్మ్‌ ఎలా ఉంది?

రివ్యూ: మనమే.. శర్వానంద్‌, కృతిశెట్టిల మూవీ ఎలా ఉంది?

రివ్యూ: సత్యభామ.. కాజల్‌ క్రైమ్‌ థ్రిల్లర్‌ మూవీ టాక్‌ ఏంటి?

రివ్యూ: మిస్టర్‌ అండ్‌ మిసెస్‌ మహి: జాన్వీకపూర్‌ స్పోర్ట్స్‌ డ్రామా మెప్పించిందా?

రివ్యూ: కీచురాళ్ళు.. మలయాళ థ్రిల్లర్‌ తెలుగు ప్రేక్షకులను మెప్పించిందా?

రివ్యూ: గం గం.. గణేశా.. ఆనంద్‌ దేవరకొండ క్రైమ్‌ కామెడీ మూవీ మెప్పించిందా?

రివ్యూ: భజే వాయు వేగం.. కార్తికేయ హిట్‌ కొట్టారా?

రివ్యూ: ‘గ్యాంగ్స్ ఆఫ్ గోదావ‌రి’... మాస్ గెటప్‌లో విష్వక్‌సేన్‌ మెప్పించారా...?

రివ్యూ: స్వతంత్ర వీర్‌ సావర్కర్‌.. రణ్‌దీప్‌ హుడా నటించిన బయోపిక్‌ ఎలా ఉంది?

రివ్యూ: క్రూ.. టబు, కరీనా, కృతి సనన్‌ నటించిన హెయిస్ట్‌ మూవీ ఎలా ఉంది?

రివ్యూ: లవ్‌ మి.. ఆశిష్‌, వైష్ణవి చైతన్య నటించిన మూవీ మెప్పించిందా?

రివ్యూ: ఆరంభం.. డెజావు కాన్సెప్ట్‌తో రూపొందిన మూవీ ఎలా ఉందంటే?

రివ్యూ: రాజు యాదవ్‌.. గెటప్‌ శ్రీను హీరోగా చేసిన మూవీ ఎలా ఉంది?

రివ్యూ: విద్య వాసుల అహం.. ఫ్యామిలీ ఎంటర్‌టైనర్‌ ఎలా ఉందంటే?

రివ్యూ: కృష్ణమ్మ.. సత్యదేవ్‌ ఖాతాలో హిట్‌ పడిందా?

రివ్యూ: ప్రతినిధి2.. నారా రోహిత్‌ పొలిటికల్‌ డ్రామా ఎలా ఉంది?

రివ్యూ: ఆవేశం.. రూ.150 కోట్లు వసూలు చేసిన మలయాళ బ్లాక్‌ బస్టర్‌ ఎలా ఉంది?

రివ్యూ: ప్రణయ విలాసం.. ‘ప్రేమలు’ హీరోయిన్‌ నటించిన సినిమా ఎలా ఉందంటే?

రివ్యూ : బాక్‌.. తమన్నా, రాశీఖన్నాల హారర్‌ మూవీ ఎలా ఉంది

రివ్యూ: ఆ ఒక్కటీ అడక్కు.. అల్లరి నరేష్‌ ఖాతాలో హిట్‌ పడిందా?

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Beast (U/A) 13/Apr/2022 Action, Drama 2hrs 38mins

Critics Review

Beastly performance by vijay.

Beast has all the ingredients to attract the family audience in droves to the theatres. After a few minutes in to the movie, the audience will get desensitized to blood. Vijay is in exceptional form as he delivers a beastly performance. It is worth watching to admire Vijay's suave and fluent all round performance. (more)

Source: Editorial board, MovieCrow

Beast is an action thriller with several applause-worthy moments. With a clichid storyline, the film solely relies on Vijay's shoulders.

Director Nelson Dilipkumar's Beast could have been an engaging action thriller had the screenplay been effective. Thalapathy Vijay tried so hard to save this clichid thriller and he succeeded for the most part. (more)

Source: Janani, India Today

Even Vijay can't rescue Beast from flippant writing

The director seems to have banked entirely on his star to carry the film, but with a script that hardly offers him anything to work with, even Vijay can only do so much with his star power. (more)

Source: suganth, Times Of India

Vijay shoulders Beast, a stylishly shot action thriller which has equally engaging comedy moments.

Beast has cemented Vijay's place as one of the industry's top stars, it has ensured Nelson Dilipkumar's name as a bankable director who has also created his own signature. More importantly, the general audiences and Vijay fans are in for a solid entertainer that's also technically par excellence. It ends up as a film that has high repeat watch value! (more)

Source: Behidwoods Review Board, Behindwoods.com

Vijay shines in this mall invasion thriller that's bogged down by flippant writing

If only the stylish treatment was strongly complemented by good writing, especially a stronger antagonist, the film wouldn't have disappointed at places. As much as Nelson tries to stick to his storytelling template by introducing characters who aid the hero in the rescue mission just like in his last film Doctor; these aren't as funny and memorable as they were in that film. (more)

Source: Haricharan pudipeddi, Hindustan Times

Humour and zany performance save Vija's inconsistent film

As the film progresses, the loopholes become increasingly unbearable. The irreverent quips become repetitive, and there's nothing else to keep us entertained. The action sequences get grander, and subsequently, more implausible. (more)

Source: Ashmeera Ayyappan, Firstpost.com

Vijay Fails To 'Master' This One, But It's Still A Celebration For Thalapathy Fans!

Nelson falls for the very similar filmmaking trap of compromising style with substance. Don't get me wrong, I'm not saying there's nothing significant here, but there are a lot of insignificant speed-breakers which become the issue. If someone can edit out the lousy love angle, some forced fun sequences keeping the action at the core, this would�ve been an amazing attempt majorly because of its cinematic style. (more)

Source: umesh Punwani, Koimoi

Vijay needs no assistance to fill the screen. Yet, no matter how much wallop a megastar might bring to the table, he still needs a strong script.

Beast has no fangs and its roar is no more than surround sound. Meant only for Vijay fans - in this regard, the film spares no effort - it is the sort of vehicle that does little justice to either the star or the director. (more)

Source: Saibal Chatterjee, NDTV Movies

Unapologetic fan service

As Nelson makes big star movies without the usual clich�, he seems to be creating a set of his own clich�s. Take, for example, actors Redin Kingsley, Sunil Reddy and Yogi Babu. It seems this set of actors is a must-have in a Nelson film even as they don't serve the narration besides being just time fillers. Nelson forces these actors into the narration to create comic relief. At times it works, but this trick seems to be wearing thin with every new film. (more)

Source: Manoj Kumar, Indian Express

Thalapathy Vijay's Effortless Swag is the Saving Grace in This Inconsistent Film

Beast is most definitely the film for you as you might want to see the hero in this suave avatar. If you aren't, you can still give the film a chance if you are willing to put logic at bay for 2 and a half hours. (more)

Source: News18, News18

The roar is missing

This is a film wrapped up in a small schedule and hence, the logical loopholes are glaring. The action choreography shines only in some parts as the story takes turns that will force you to suspend belief. The film's major plot points are silly. Towards the end, the feeling of watching an outdated, one-man show film is inevitable. (more)

Source: Vivek, Deccan Herald

Leaner Story, Ridiculous Narrative

Vijay rescues the hostages, but he fails to save the film as the writing and execution in the latter part of the movie are lame. (more)

Source: Venkat , greatandhra.com

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Beast Movie Review: Nelson Loses And Vijay Gains In This Unremarkable Yet Absurdly Entertaining Action Film

Cast:  Vijay, Pooja Hedge, Selvaraghavan, Aparna das, Yogi Babu, Redin Kingsley

Director:  Nelson

A bunch of oddballs thrown in a dire situation led by an over-smart operator — in short, this is Nelson's MO. In both Kolamavu Kokila with Nayanthara and Doctor with Sivakarthikeyan, he pulled off absolute bangers with this format. With his latest outing Beast , he continues to stick to it. Or does he?

Beast is the story of a patriotic sociopath Veeraraghavan ( Vijay ) who leaves his day job as a RAW agent after a painful betrayal by the establishment. With faith lost and mental health in disarray, he now lives in Chennai. He's taken to a wedding by his shrink, where he has a preposterous meet-cute with Preethi (Pooja Hedge whose job couldn't have been simpler), falls in love, finds a job in mall security, and ends up in a place hijacked by Pakistani terrorists. How he fights the captors, rescues the hostages, saves the day and also redeems himself makes the rest of the film.

Nelson wastes no time in introducing us to Veeraraghavan. We almost immediately learn that he's a smart cookie, treasured asset, heart of gold, but with a worrying tendency to go rogue. AnbAriv stages the action sequences with style and detail that truly elevates the star vehicle. Vijay, for his part, is nimble on his feet, the movements and the landing inch-perfect. Manoj Paramahamsa captures the action gently, without unnecessary fanfare with the camera. The writing of the most important incident, the betrayal, is rather pedestrian. And Vijay's performance in this scene is barely adequate. But it works. In essence, the prologue is efficient.

This is also why the scenes that follow are a test of patience. The conversation with the psychiatrist is a joke — not the good kind. The implication that resolution can only come from redemption defeats the very purpose of admitting mental health issues in the first place. The interaction between Veeraraghavan and Preethi is classic Tamil cinema bagasse. The ageist jokes about security companies only work sporadically. Nelson hurries through these sequences, thank god. Else, the restlessness to get to the point would have burnt up the audience.

When the action truly begins, when the terrorists close down the mall and take people hostage, we expect that the fluff is over and the film will come alive. It somewhat does, but what we get is a lumpy Nelson-lite. The film is so obsessed with Veeraraghavan's larger than life "Indian James Bond" image that it eats into the motley-group-of-misfits MO that Nelson has created for himself.

Pooja Hegde's Preethi has no personality of her own, her existence is merely a means to an end — bringing Veeraraghavan to the mall. Sunil Reddy and Shiva Arvind, who were terrific as the local rowdy and sidekick in Doctor , are ineffective. Yogi Babu and Redin Kingsley come, try and go. Satish as Preethi's smitten fiancé is neither irritating nor funny, no character should be so bland as to evoke no emotion from the audience! VTV Ganesh seems to have got the better deal, yet largely underwhelming as a character. 

Selvaraghavan tries his best to bring a dry cynicism to Althaf, the deputy security advisor in charge of handling the hijack. But the writing fails him so much, reducing his existence to spewing unnecessary build-up for Veeraraghavan, almost reminiscent of Vivek Oberoi's character in Vivegam . The villains are lame, never posing any real threat — at one point, they are so easily fooled by Veeraraghavan's lies that I found myself asking " yarra nee ?" This makes the standoff weightless and the payoffs joyless.

This uncharacteristic light-handedness is in how Veeraraghavan is written too. The joy of Nelson's previous work, Kolamavu Kokila and Doctor was in not knowing how far the hero will go and what they are really capable of. The disproportionate dialogue-level build-up for Veeraraghavan violently scratches out any element of surprise — we know that he's going to tie up fully grown adults with his bare hands and carry them like a duffle bag (or ' aamai ' as the film describes it). 

Also Read:  Vijay Is Super-Chill In An Uncomplicated, Jolly Action Comedy Beast Where The Stakes Don't Matter At All

With the writing not powering the film as it should, Beast relies almost entirely on its stunts and set pieces. They work and how! The interval block car chase is delightful. Sparks fly, both literally and figuratively, in every gunfight. Vijay is in top form skating, driving, jumping and flying through a space as confined as a mall. The slow-mos, as repetitive as they seem, are a fan feast. If the energy isn't already pumped, composer Anirudh brings everything he has got to the background score to up the ante.

For a Vijay film — if your scale is let's say, Bairavaa or Bigil — Beast is an absurdly entertaining film. It looks, sounds and behaves like a well-done action movie. The unbelievable is still palatable. At the end of the film and its musical epilogue, you wouldn't leave unsatisfied.

For a Nelson film, though, Beast is a step-down. From the very beginning, it sheds its quirky Nelson-ness for genre-conformation. It becomes rather ordinary pretty soon. It takes a textbook approach to setups and callbacks. It follows an obvious Vijay film template in political dialogues and self-references. It disproportionately worships its hero.

This is perhaps the beginning of the mainstreaming of Nelson. I, for one, am more worried for the path this is taking.

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Release Date : April 13,2022

123telugu.com Rating : 2.25/5

Starring: Vijay, Pooja Hegde, Selvaraghavan, Yogi Babu, Redin Kingsley, Bjorn Surrao, VTV Ganesh, Aparna Das, Shine Tom Chacko, Liliput Faruqui, Ankur Ajit Vikal & Others

Director: Nelson Dilipkumar

Producers: Sun Pictures

Music Director: Anirudh Ravichander

Cinematography : Manoj Paramahamsa

Editor: R. Nirmal

Beast is a film that had created a good buzz with its trailer in the last few days. The film has released today and let’s see how it is.

Veera Raghavan (Vijay) is a Raw agent who comes back to Chennai after a failed mission which kills a small girl. He meets Savitri (Pooja Hegde) at an event and takes up the job of a mall security in her company. The twist in tale arises when the mall gets highjacked by terrorists and a hostage situation is created. The rest of the story is as to how Veera goes all out and saves everyone’s life in the mall.

Plus Points:

Thalapathy Vijay is the sole attraction as he carries the entire film on his shoulders with his swag and screen presence. He looks stylish and is neat in all the action sequences.

Pooja Hegde does not have much to do in the film but looks good opposite Vijay. The comedy created in tense situations works to an extent in a few scenes of the first half.

Anirudh’s BGM is yet another asset of the film. If not for his work, the action sequences would have been even dull. Vijay has danced superbly in the Habibi song and fans will love him.

Minus Points:

One of the biggest drawbacks of the film is that is lacks basic emotion. The needed tension and emotion for a hostage drama is completely missing in the film as tense situations have been made silly.

Also, the story does not have any twists and has been showcased in many Hindi films at least ten years back in time. Apart from Vijay, the entire casting goes for a toss. Some inexperienced actors are chosen who do not create any impact to the proceedings.

The first half is started effectively and the plot of hostage drama has been brought out well. But from there, things go down as none of the thrills create an effect on the viewer. A mall is hijacked and the manner in which the government handles the situation looks silly and over the top.

Technical Aspects:

As said earlier, Anirudh is the biggest asset of the film with his solid BGM and good songs. Production design is good and so was the camera work showcasing the huge mall set up. The editing is pathetic as the film has so many scenes which create a lag in the proceedings.

Coming to the director Nelson, he has wasted a superb opportunity given to him by Vijay. He tried to showcase him as a Raw agent and in a stylish action avatar. While he showcased Vijay decently, the rest of the film has gone for a toss. There is no thrill, tension or emotion created by the director in spite of having so much scope. He has designe a few action sequences and added scenes here and there. His attempt of creating humor in dark situations worked in his previous film Doctor but has failed with Beast and disappoints the fans.

On the whole, Beast is a botched up action drama that goes wrong in several aspects barring a few laughs. Vijay is superb and tries hard to salvage the film but as the writing, execution and core emotions are so dull, even he cannot save the film which ends as a big disappointment and fails to live up to the hype.

123telugu.com Rating: 2.25/5

Reviewed by 123telugu Team

Click Here For Telugu Review

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'Beast' starring Vijay, Pooja Hegde: What to Expect

Ever since the film Beast's promotion dropped a bombshell on the internet in the form of the video song 'Arabic Kuthu' Vijay fans began tracking the film's arrival in a frenzied fervour.

The promo videos which came forth thereafter, including the trailer that came last, have sent tumultuous ripples across movie buffs.

It is now almost certain what is most enjoyed in Vijay movies - foot-tapping numbers, hilarious dance moves and pulsating action scenes - are abundantly packed into this movie as well, and maybe in a far more thrilling manner.

'Beast' movie review: Vijay as a mix of 'Rambo,' 'James Bond' to save a 'Money Heist' like hostage situation

The supervillain hidden in Lokesh Kanagaraj’s Vijay-starrer 'Leo'

If the ingredients are featured in the right mix in the movie, 'Beast' directed by Nelson Dilipkumar will surely find its place in the list of gigantic hits in Indian cinema.

While Anirudh Ravichander has ensured his music lends power to the thriller, Manoj Paramahamsa's camera seems to have captured the drama and actions without losing a bit of their essence.

Other actors in the movie include Selvaraghavan, Yogi Babu, Redin Kingsley, Bjorn Surrao, VTV Ganesh, Aparna Das, Shine Tom Chacko, Liliput Faruqui, Ankur Ajit Vikal among others.

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Beast film review — Idris Elba goes tooth and claw with a vengeful lion

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Beast Movie Review: Barely manages to startle us 

Rating: ( 2.5 / 5).

In a time when mainstream cinema was becoming all about saving planets, universes, multiverses, time, space, and all of reality, one tends to yearn for a simple story. Beast , directed by Baltasar Kormákur, derives its appeal from one such simple premise -  it's about just one man trying to save his family from a vengeful beast. Nate (Idris Elba) goes on a trip to a game reserve in South Africa with his daughters and gets hunted down by a rogue lion. 

Director: Baltasar Kormákur Cast: Idris Elba, Sharlto Copley, Leah Sava Jeffries, Iyana Halley Beast starts with a violent scene that tells us why we must dread the eponymous animal. The film wastes no time in setting up the characters, their history, and their interpersonal dynamics through a rapid succession of fairly competent scenes. Idris Elba plays a single dad with two daughters, one going through her rebellious teen years and the younger child is there as an audience surrogate who voices out our frustration at her walking cliche of a teen sister. Nate has been recently widowed and you already see it coming: His problem with his elder daughter is going to be about how he “was never there” while their mother was dying. We know then that the rest of the film is going to be all about whether or not he mends his relationship with the daughters while trying to survive through danger. We have seen this a thousand times but it works well enough to supply the characters with a working dynamic that generates enough drama to propel the plot forward.  Even though Beast is not trying to reinvent the wheel, it does redeem itself to a considerable extent by not taking its audience for granted, especially when it comes to its making and performances. The long, sweeping single shots keep us engaged, despite the fact that you can spot the stitching together of multiple shots at places. The lion had to look as realistic as possible since everything in the film hinged upon us sharing the dread of the primary characters. Through a brilliant confluence of nifty camera work, careful use of shadows, and cogent VFX, the lion comes to life in all its terrifying glory. 

Beast understands what we are truly in for - some gritty Elba-on-lion action, so it fills in the slots for plot essentials like character motivations and inciting incidents in the tritest way possible. The plot momentum is driven by a chain of coincidences that we have been trained by now to scroll down and hit ‘accept’ like we would for a free software agreement. Despite us giving it some leeway, the film still manages to pile on more coincidences. There is a scene where Elba goes looking for the keys to a getaway car but when he can’t find them, his daughter says “you don’t know how to hot-wire a car?” and he replies something along the lines of “Why would I, I'm just a doctor.” The film thinks it is clever to subvert genre cliches like these but then goes on to add a whole bunch of said cliches. Like when Elba and his daughters are stranded in the middle of a forest, hiding in the car from a prowling lion, that is exactly when the elder daughter decides to walk out of the car to go look for her missing uncle, which as you guessed, ends up making things monumentally worse for everyone involved. 

Idris Elba’s performance wonderfully magnifies the looming threat while Sharlto Copley’s Martin does what any good supporting character must do by reviving the plot momentum while it was just starting to go in circles. 

Although predictable in essence and in execution, the film does tend to deliver the genuine thrills and excitement that we expect of it. If not for anything, you could watch it for the one glorious moment where Idris Elba's character wrestles a force of nature with 650 psi of bite force and eventually manages to punch it in the face.  

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The Beast review: Léa Seydoux leads a mesmeric blend of sci-fi, horror and romance

The works of french filmmaker bertrand bonello are designed to provoke – and this time-hopping drama, co-starring george mackay, is no different, article bookmarked.

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The future presented in The Beast , Bertrand Bonello’s mesmeric blend of sci-fi, horror and romance, feels frighteningly plausible. In the wake of disaster, AI has taken on the responsibility of running civilisation , leaving 67 per cent of humanity unemployed. Decisions, now, are made entirely without bias or empathy, so that when Gabrielle (Léa Seydoux) attempts to seek more fulfilling work, she’s forced to undergo a process of “purification”, in which her past lives, and all their inherited trauma, are scrubbed clean from her DNA.

The notion that we carry our ancestors’ sorrows, one proposed by certain corners of the scientific community, is an unnerving one. Here, the French filmmaker suggests it may be the true explanation for the amorphous “beast” once described in a Henry James novella . Its story concerns a man who rejects love and stability because he’s convinced some terrible catastrophe, moving unseen like a creature in the jungle, will one day strike him down. Gabrielle feels the same, and in Bonello’s sad, unshakeable film, it’s suggested that perhaps her fears are justified – some of us, it seems, are simply fated to be plagued by the same, cyclic miseries.

There are three timelines at play here: the future, in 2044; the present(ish), in 2014; and the past, in 1910. In all three, there is a Gabrielle and there is a Louis (George MacKay, who took on the role after the death of Gaspard Ulliel , to whom this film is dedicated). In the 1910 sections, Bonello comes the closest to plainly adapting James’s novella, 1903’s The Beast in the Jungle . We’re in Paris, during the Belle Époque, and Gabrielle is an accomplished pianist who denies Louis’s advances in an attempt to stave off the doom. MacKay supplies dignified, courtly yearning – in one scene he snaps his eyes shut and you can almost see, dancing across his features, the daydream of leaning across to kiss Gabrielle’s lips.

In 2044, Louis is another candidate for the process of purification, another soul pledged to never feel a true and powerful emotion ever again. But it’s in the contemporary section, in 2014, that Bonello best deploys his web of Lynchian symbols – each timeline, in some way, features a clairvoyant, a bird as the harbinger of ill, and a doll as a totem of innocence (in the future, it’s an android played, with poignant restraint, by Saint Omer ’s Guslagie Malanda).

In 2014, self-imposed isolation, when mixed with hatred and entitlement, turns dangerous – in a way that suggests that, while fear and loneliness are part of the universal experience, social hierarchy tends to dictate what people choose to do with those emotions. Here, Gabrielle is an actor in Los Angeles, paid to replicate extreme emotions against an endless void of green screen. Louis, meanwhile, is a violent misogynist, whose video manifestos could almost be direct translations of those made by the man who shot and murdered six people in Santa Barbara, California, on 23 May 2014. McKay finds the necessary, chilling balance between disturbing and deeply pathetic. Seydoux’s terror, in response, seems infinite – inviting in all that is material and immaterial, simultaneously becoming a woman living in everyday fear of men, and a woman in touch with some primordial knowledge of her own mortality.

Bonello, whose films – among them Nocturama and Zombi Child – are made to provoke, does not leave us entirely hopeless. In 2044, Gabrielle faces a hard bargain: would permanent serenity be worth the loss of every great piece of art made by those brave enough to face their pain? As she insists, in 2014: “There must be beautiful things in this chaos.” The Beast does its best to seek them out.

Dir: Bertrand Bonello. Starring: Léa Seydoux, George MacKay, Guslagie Malanda, Dasha Nekrasovai. Cert 15, 145 mins

‘The Beast’ is in cinemas from 31 May

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Dr. Nate Samuels (Idris Elba), a grieving widower, takes his two daughters, Meredith and Norah Samuels (Iyana Halley and Leah Sava Jeffries), on a journey to a game reserve in South Africa, where he and his wife had first met. They meet an old family friend and wildlife biologist, Martin Battles (Sharlto Copley). Dr. Nate Daniels, played by Iris Elba, is a recently widowed father who takes his kids on a long-planned trip to South Africa, where he first met his wife, to a game reserve operated by Martin Battles, a seasoned family friend and wildlife expert (Sharlto Copley). When a lion starts hunting them, however, what begins as a therapeutic outing suddenly turns into a horrific struggle for survival. This lion was formerly a vicious poacher's victim, and he now sees everyone as his enemy. The survival thriller "Beast," starring Idris Elba, will debut in Indian theaters on September 2. Based on Jaime Primak Sullivan's original concept, the Universal Pictures production was directed by Baltasar Kormakur, of "Everest" renown. In the forthcoming movie Beast, Idris Elba will play the major character of Dr. Nate Daniels. Elba, who has a wide range of acting credits and has been in movies like Hobbs and Shaw, The Dark Tower, Takers, and the Thor series, will undoubtedly be able to manage the demands of playing the protagonist. Iyana Halley will portray Meredith Daniels, the 18-year-old daughter of Nate Daniels, and Leah Sava Jeffries will play Norah, the youngest daughter of Nate Daniels, who will appear with Elba. Sharlto Copley, a South African actor who plays Martin Battles, will play Martin Battles. The picture will undoubtedly be of exceptional quality thanks to its renowned creative team and such a skilled ensemble. Although the lion is obviously computer-generated, the way it interacts with the setting and the characters is arguably one of the few parts in "Beast" where you can suspend disbelief. You could feel a little frightened by it because of the way it assaults people, how it appears out of nowhere, and just because it is there. So much so that even while you are confident Nate and his children will survive, you might wonder if they will have all of their limbs. The disbelief of the situation can be seen with respect to the weight of a male lion and how it generally ranges between 330-570 pounds. Idris Elba probably stands in at around 200 lbs, and 130 lbs for his children - especially Meredith - is far from realistic. It may be difficult to imagine the two of them successfully fighting off a lion with 400 pounds of muscle. Furthermore, the implausibility of scenes such as Meredith fending it off with a few kicks to her assailant's face and Nate engaging in a fight with the Beast using only a knife while the lion pounces on him, hitting him with his paws, and seemingly almost getting a hold of his neck with its jaws, will likely leave anyone highly skeptical. Idris Elba fights a homicidal lion in Beast 2022, a plot that is both easy to understand and artificial. Thank goodness, that's all the film ever tries to be. It will undoubtedly go by the end of the year in a subgenre that has been putting man against nature for a lot longer than it has needed to. In spite of this, it's quite a relief to witness a movie that doesn't needlessly offer more than what its marketing promise. The fact that it exudes the confidence of a much better film should be enough to excuse its aimlessness and blatant predictability. Hence, they journey to South Africa to investigate the town where she stayed. If some problem takes place on the safari, audiences may have similar feelings of confusion to the main characters - making the experience of watching much more realistic. There isn't much in Beast that viewers won't see coming because there is a hungry lion on one side and a group of thirsty poachers on the other. Because there are only 93 minutes left, it doesn't spend much of that time worrying about the actual ecological issues the Samuel family faces as they fight for their lives. The movie's finest asset is that the battle for survival is intriguing enough. On the other hand, Beast isn't really supposed to be a fable about messing with nature or the effects of death on household life. Idris Elba would have given just as outstanding of a performance even if it were, despite the fact that it wasn't the case. Elba successfully juggles his ingenuity and quick wit as a wildlife scientist with the remorse he felt over leaving his wife as she succumbed to illness, working alongside the similarly underappreciated Sharlto Copley as the Samuels' friend and safari guide Martin. In this film, Idris Elba's portrayal of Samuels humanizes him and offers excitement for his last confrontation with the lion. Unlike his performances in Marvel, Fast Furious Presents: Hobbs Shaw (2019), and The Suicide Squad (2021), Elba does not bring an unearthly presence to his part but instead brings to life a believable character who is in doubt of his own abilities yet still puts effort into maintaining his role. Korm�kur's prior work on the historically accurate Everest (2015) and Adrift (2018) make him a good fit for the job since he is adept at portraying a feeling of realism even in a scenario where the setup isn't quite typical for real life. In this sense, the work of the director of photography Philippe Rousselot is yet another pleasant surprise. With several brilliantly designed long shots, the Academy Award winner manages to put the audience in the heart of the nightmare rather than just giving them a bird's eye perspective. This adds a welcome touch of elegance and complexity to the Samuels' frightful, frequently claustrophobic experience. Unfortunately, how the lion is presented draws equal amounts of praise and ridicule; the visual portrayal is simple to impress since its coloring mixes in with the brightness of the day but less so because its artificiality jumps out in the deepest darkness of night. What's worse is that Beast finally lets down its ravenous antagonist with a lackluster conclusion that stops the film's forward momentum. It is more than confusing, particularly in light of the fact that the movie delivers on its promise to throw two strong opponents against one another in a struggle to defend their turf before abruptly losing steam. The plot of Baltasar Korm�kur's Beast centers on a father (Idris Elba) and his two children visiting an old friend (Sharlto Copley) in South Africa. Still, they soon run across a ferocious lion hungry for vengeance. The majority of the movie was likely filmed on location in the end, with only a minor portion being shot in a studio, such as the nighttime driving sequences. They shot on site in the Northern Cape and Limpopo, which is close to Namibia's border. At the conclusion of the movie, Elba's character takes a moment to absorb the fact that he has successfully defended those who were vulnerable and restored order to the area. His departure from the situation is comprised of a broad shot, giving the audience a feeling of resolution and the assurance that the area is now more secure. Idris Elba exhibited remarkable acting capabilities in the grueling final scenes of this action-packed thriller that kept viewers on the edge of their seats throughout. With the combination of suspense, action, and a hefty portion of humanity, the movie culminated in an entertaining and satisfying conclusion.

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The Beast review: Léa Seydoux leads a spellbinding and suffocating voyage

Ever since Betrand Bonello’s “La Bête” ( The Beast ) premiered at the Venice Film Festival ten months ago, its arrival in the UK has been hotly anticipated. With largely positive festival reviews and a reliable casting of Léa Seydoux and George MacKay , The Beast is set to scratch the itch for anyone who wished they could have been at Cannes, but wasn’t. It will also bewitch, titillate and breed nightmares, so tread carefully. 

Set between three time periods, the premise of The Beast lives in 2044, an era which has been taken over by AI. Humans are rendered useless due to their fallibility and pesky emotions, but a listless Léa Seydoux wants to make herself useful. As per the AI overlords’ suggestion, she undergoes a series of procedures to rid herself of all past traumas, so she can be a happy worker drone like everyone else.

During the procedures, Seydoux relives two of her past lives, both of which are haunted by MacKay, who she’s destined to cross paths with in every timeline. In the earliest memory, they are bewitchingly star crossed lovers in 1910s Paris, during the year the city was underwater for months at a time. In 2014, they are suffocatingly unhappy strangers in Los Angeles. MacKay plays an incel, transfixed with Seydoux’s position as yet another woman who could reject him. In 2044, the pair are mere acquaintances.

Visually, the film is worthy of a permanent place in the Louvre. It is gorgeous, especially in the blush-heavy, charming colour palette of 20th century Paris, or the retro-futuristic raves of 2044. The Beast feels as though it should live in one of those dark exhibition rooms at an art gallery where short films play, though a rather saggy two hours and 26 minute runtime would render that impossible. Even in the comfort of your own home it’s deeply uncomfortable at times, picking at the scab of a universal fear: that something, somewhere, is coming to get you.

MacKay and Seydoux are transfixing, and the film is worth watching alone for their performances (including an especially good scene where Seydoux impersonates a porcelain doll). MacKay once again proves himself as one of the most exciting young British actors of today, and he is at his best when his characters are acting in earnest — even while he’s playing someone uncharacteristically threatening. There’s also an interesting but limited appearance from Guslagie Malanda, who’s definitely an actor to keep an eye on.

It is Lynchian and Black Mirror-esque, with direct parallels in certain scenes: red velvet curtain-lined visions, nightclubs set in distinct time periods. The length makes it a little laborious, but worth it for the experience. Like a painting, The Beast is best seen once, pondered and then left as a memory. You won’t be rewatching this one anytime soon, but it will stick with you, even when you don’t want it to.

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Léa Seydoux’s The Beast is one of this year's best movies

The Dune: Part Two star is outstanding in a romantic sci-fi epic that defies categorisation.

Bertrand Bonello's outstanding ability to marry genres, build bridges between past and present and combine dense philosophical explorations with a soul-touching love story makes it a must-see movie this year.

It's a bold, romantic sci-fi epic that defies categorisation. It's also quite long, demanding, and at times even bonkers, but it's worth every single minute.

Inspired by Henry James's 1903 novella The Beast in the Jungle , the movie follows fated lovers Gabrielle (a magnificent Léa Seydoux ) and Louis ( 1917 's George MacKay ) through their diverse reincarnations in 1910, 2014 and 2044.

Their connection survives, even if the memories of their past lives have long been forgotten, as they navigate an ever-changing world that always seems to be on the verge of disaster.

The futuristic setting (2044) is dominant, placed in a dystopian France where AI controls every aspect of human life. Here, there's a common procedure to purify one's DNA in order to be more efficient at work. That is, to remove all emotions and remnants of the past in order to achieve the ideal of a productive individual in a tech-dominated and painfully lifeless society.

Gabrielle is not entirely sold on the idea.

In Henry James' The Beast in the Jungle , the main character ruins his chances of love and marriage because of his obsession with an impending catastrophe, which he calls a "beast", that lies in wait for him. By the end, he will learn that his fatalist view got in the way of his happiness, as he was never able to love freely.

The similarities with The Beast are evident beyond the shortened title, but Bonello expands it in time, amplifies the scale and delivers thought-provoking ideas in his best movie to date.

The French director also makes that haunting disaster (or "beast") more tangible while playing with different settings and movie genres.

Chronologically, the story starts during Paris' Belle Époque in the early 1900s. Gabrielle and Louis meet and fall in love shortly before 1910's Great Flood, which sank the French capital under the Seine's waters. This setting is delicate and melancholic, a period romance in the likes of The Age of Innocence .

In the second time period, the same characters are living in modern-day Los Angeles, with Gabrielle now struggling as an aspiring actor and Louis revealing himself as a dangerous incel who is stalking her. Bonello was inspired by real-life American mass murderer Elliot Rodger, even including lines from his infamous misogynist manifesto.

This too-close-for-comfort part of the movie feels at times like a slasher, while the third location (a futuristic Paris) taps into the dystopian sci-fi tradition.

Each period represented in the movie contains both society's collective traumas and the character's personal nightmares — tech anxieties and inescapable loneliness, toxic masculinity and frustrated desires, environmental disasters and the impossibility of love.

At the heart of all of them is the unease of how to find happiness when the world is a dark place to live. It's about how fate is a double-edged sword, too.

As is obvious by this point, The Beast is a beast of a movie, packed with all kinds of different elements that, honestly, shouldn't work at all. But it does, and in a stunning way, mainly because the movie never forgets about the characters' emotions. After all, there is one more movie genre Bonello is playing with: the melodrama.

For all the complexities we can find in The Beast , its message is simple — embracing our fears, anxieties and vulnerability is the only way to embrace love.

The Beast is now out in UK cinemas.

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Deputy Movies Editor, Digital Spy  Mireia (she/her) has been working as a movie and TV journalist for over seven years, mostly for the Spanish magazine Fotogramas . 

Her work has been published in other outlets such as Esquire and Elle in Spain, and WeLoveCinema in the UK. 

She is also a published author, having written the essay Biblioteca Studio Ghibli: Nicky, la aprendiz de bruja about Hayao Miyazaki's Kiki's Delivery Service .    During her years as a freelance journalist and film critic, Mireia has covered festivals around the world, and has interviewed high-profile talents such as Kristen Stewart, Ryan Gosling, Jake Gyllenhaal and many more. She's also taken part in juries such as the FIPRESCI jury at Venice Film Festival and the short film jury at Kingston International Film Festival in London.     Now based in the UK, Mireia joined Digital Spy in June 2023 as Deputy Movies Editor. 

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The launching pad for Bertrand Bonello ’s new picture “The Beast” (“La Bete”) is a 1903 short story by Henry James called “The Beast in the Jungle.” Seen by some James scholars as an autobiographical expression of rue for a life of inaction, it treats the case of John Marcher, who confides in his acquaintance May Bartram that he lives in fear of an unnamable catastrophe that could upend his life, and the life of anyone close to him. She claims to get what he’s talking about.

“‘You mean you feel how my obsession — poor old thing — may correspond to some possible reality?’

‘To some possible reality.’

‘Then you will watch with me?’”

And so May does. And Marcher’s fear translates into a passivity that compels him to hold May at arm’s length for the rest of his life. At the end of the story, he mourns a love he never allowed himself to have and understands that the catastrophe was his own fear.

In Bonello’s film, the fear belongs to the popular Parisian concert pianist Gabrielle Monnier ( Lea Seydoux ), who, around the time of the great 1910 flood of France’s City of Lights, confesses this fear to Louis ( George MacKay ), a young Englishman with whom she soon begins a tentative liaison. But the trouble they encounter has nothing to do with Gabrielle’s reticence to enter into a romantic relationship with Louis—although that does exist.

Bonello’s not here to tell us that the only thing to fear is fear itself. He’s here to tell us to be afraid—be very afraid. What he delivers is not just a densely packed art movie but the most potent horror picture of the decade so far. A vision of three (actually four) nightmare times, all of them in the same vexed world.

The cataclysms that fall upon Gabrielle—played by a superbly controlled and often heartbreaking Lea Seydoux—aren’t spiritual or conceptual (well, of course, at first, they are), they’re “real,” or Real. They’re corporeal/physical, or simulations of the corporeal physical. And they’re unavoidable. Boy oh boy can you not stop what’s coming. Close that browser window, rewind that video, press mute on the sound system, reset the house alarm, none of it will do you any good. Not even an alteration in the fabric of reality itself—and this seems to occur at least a half dozen times in the picture—will stave off horror. The beast isn’t in the jungle, it’s in the house, and it’s in the air we can only barely breathe when the movie gets to 2044. It is in us; it is us.

Sounds cheerful, right? Well, what can I tell you? Bonello has a way of throwing us into an enhanced vision of the degrading noise of contemporary life that’s all the more engaging for being so even-handed and deliberate. I mentioned three timelines that are actually four—the movie is framed, kind of, by a green-screen session in which Seydoux, possibly playing Gabrielle, possibly playing herself, is coached through paces for a scene in which she actually apprehends “the beast” and lets out a blood-curdling scream. The image degenerates into a gorgeous abstract mural of pixels. Digitization is here both a source of ravishing sights and sounds and an Excedrin headache of aural and visual glitch. The movie then bounces through three time periods: 1910, 2044—where Gabrielle’s character seeks to abolish her reincarnation torment through a “DNA purge”—and most terrifyingly, 2014, wherein “Gabby” is housesitting in L.A. and targeted by the angry incel version of MacKay’s Louis—Louis Lewansky, who’s 30 and never been with a woman despite his “magnificence,” and who’s now getting ready to avenge himself.

Dolls are a recurring motif here—there are old-fashioned ones made for fans of the pianist Gabby, and unhelpful talking doll in the Hollywood house, and a walking, talking A.I. helper (played by Guslagie Malanda , as impressive here in a relatively small role as she was in the lead of 2022’s “ Saint Omer ”). An electrical fire figures in the 1910 sequence; a malware attack on a laptop is one of the insane blowups in the 2014 scenario. There are bits and pieces here that feel Lynchian, especially in the Los Angeles scenes, during which Gabrielle is fascinated/repulsed by a TV singing contest show that feels like it might have sprung full blown from the creator of “Twin Peaks.” Then there’s the fact that the love song recurring throughout shows up at the very end, sung in its original version by, well Roy Orbison. But unlike Lynch, Bonello has a decidedly un-obscure point to make. Mainly about how the pursuit of the authentic in life is invariably thwarted by roadblocks of humanity’s own making. (Although one supposes that the eighth episode of the 2018 “Twin Peaks” season treated that theme in a relatively unambiguous way.)

“There must be beautiful things in this chaos,” Gabrielle tries to reassure the movie’s scariest version of Louis at one point. Bonello, and this movie’s, greatest dread is that someday a terrible order will emerge, one that will make whatever beauty remains disappear. 

Glenn Kenny

Glenn Kenny was the chief film critic of Premiere magazine for almost half of its existence. He has written for a host of other publications and resides in Brooklyn. Read his answers to our Movie Love Questionnaire here .

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