Killbill Society

In an era where cinematic landscapes are evolving at breakneck speed - streaming platforms are pushing boundaries, indie creators are rewriting the rules, and global audiences are becoming increasingly discerning - it is baffling that Kill Bill Society exists. Not just exists, but gets bankrolled, marketed, and shoved into theatres with pomp, solely riding on the credibility of a name. What it lacks and in gaping, unforgivable measure is the single most crucial element that elevates cinema: "storytelling"...

This isn't a film. It's a patchwork of vanity shots, tone-deaf direction, and a screenplay that feels like it was vomited out during a cocaine-fueled all-nighter, greenlit purely because someone whispered, "But hey, it's from "that director" right?

Well, guess what? A celebrated director without a solid script is just an expensive liability - and "Kill Bill Society" proves that with nauseating precision.

Script - Or Whatever They're Calling It

The script, if you can call it that, is a barren wasteland of clichés, stunted arcs, and dialogue that reads like a parody of bad writing. The three-act structure? More like three flatlines punctuated by meaningless transitions that exist only to shoehorn in expensive drone shots and neon-lit monologues. There is no semblance of character development. No inciting incident worth noting. Stakes? Conflict? Resolution? Missing. All of it.

Characters enter scenes without motive, wander through overwritten exposition, and exit with less emotional weight than a local shampoo commercial. And if you stay till the end credits you're left with a narrative arc that feels like someone tried to assemble a jigsaw puzzle while blindfolded and drunk.

Direction - Pretentious, Aimless, Insulting

The director, whose earlier work may have impressed in the "aantel circuit"or managed to catch fire due to decent writing and tighter editing, seems to have mistaken indulgence for vision here. There's this constant, palpable desperation to be edgy, to be meta, to be deep - but all it does is drown the viewer in self-congratulatory garbage. Every scene screams, "Look how artistic I am!" but not once does it ask, "Is this serving the story?"

It's style over substance, and not even good style at that. The visual grammar is broken. Shot compositions exist purely for aesthetic purpose no storytelling logic behind blocking, no depth to framing. Transitions are jarring, continuity is non-existent and the color grading seems like someone vomited a LUT pack onto DaVinci Resolve and called it a day.

Performances - Wasted Talent, Dead-eyed Delivery

The cast is surprisingly strong on paper. There are names here who've delivered powerhouse performances elsewhere. But here? They've been left stranded without direction, forced to speak lines that would make even a soap opera writer cringe. You can practically see the actors dying inside, scene by scene, as they try to bring some shred of life to their hollow, overwritten characters. It's like watching Shakespearean actors asked to perform a TikTok script. Painful doesn't begin to describe it.

Editing - A Disgrace to the Craft

Pacing? What pacing? The film drags like an arthritic turtle on sleeping pills. Scenes run long without purpose. Cuts are made at random points, often killing the emotional rhythm of what little tension there is. The editor either had no control over the final cut or simply gave up halfway and let the timeline rot. Either way, what ends up on screen is an incoherent mess of janky cross-fades, misplaced jump cuts, and unnecessary song sequences that scream "filler".

Sound Design and Score - A Sonic Assault

The sound design is intrusive, jarring, and amateurish. Scenes are overcompensated with bass-heavy slams that don't sync with visual impact. Dialogue scenes are riddled with inconsistent ambient noise. And the score? A mismatched mixtape of stolen motifs and synths that think they're scoring a Scorsese film. It's not immersive rather it's irritating. It actively pulls you out of the narrative, reminding you again and again: you're wasting your time.

Production Design - Flash Without Thought

The Real Tragedy - What This Film Represents And this, dear aspiring film buffs, is what truly burns the sheer waste of potential. The resources thrown at this glorified showreel could've backed ten meaningful projects from hungry, passionate filmmakers who are scripting their hearts out with no one to fund them. This isn't just a bad film. It's a symptom of a diseased industry trend where clout replaces craft and names replace nuance.

A film where the production house, instead of being a gatekeeper of quality, becomes an enabler of mediocrity.

It's insulting. Not just to filmmakers who grind every day trying to get noticed, but to audiences who spend their hard-earned money hoping for escapism, inspiration, catharsis or at the very least, basic entertainment. What they get instead is this pretentious, plotless, plastic dumpster fire.

Final Verdict

"Kill Bill Society" is not a film. It's a textbook case in what happens when ego overshadows empathy, when visual flair replaces story architecture, and when producers mistake hype for substance. It's a creative black hole vacuuming in budget, talent, and time, and giving back absolutely nothing.

Sijjida has a knack for turning decent stories into trash. Certified Trash!

Let's start with the negatives:

• The story is good, but it's messy when turned into a film.

• Some songs are unnecessary and feel forced into the movie.

• The screenplay is extremely poor. Sijjida should consider getting someone else to write for him.

• The first half is weak, while the second half is slightly better.

• Koushani's acting feels fake, except in a few scenes.

• The climax is painful to watch.

• Basic logic is lacking throughout the film.

Some good aspects:

• The songs are decent, but not on par with Hemlock Society.

• The storyline is good, which makes the movie somewhat tolerable.

• Vishwanath Basu's character is well-done.

• Sijjida's cinematic universe references and comedy punchlines work.

Final verdict: Half star for a decent storyline, one star for decent songs.

Having recently watched this film, I walked away with a sense of disappointment. Apart from a few good songs that stood out in terms of melody and presentation, the movie as a whole felt like a wasted opportunity. The filmmakers clearly focused more on music than on crafting a coherent narrative. If you are planning to watch it purely for entertainment or with the hope of experiencing a compelling story, I would suggest thinking twice - your time could definitely be better spent on a different movie.

The most glaring issue with the film is the complete lack of a proper storyline. There seems to be no central theme or plot that the audience can hold on to. Scenes are thrown together in a haphazard manner, making the entire movie feel directionless. As a viewer, I constantly found myself wondering where the movie was going. Important events happen without buildup, andcharacters appear and disappear without meaningful development. The pacing, too, is inconsistent - at times painfully slow, and at others, unnecessarily rushed. It feels as though the makers couldn't decide what kind of story they wanted to tell, so they decided to throw everything at the screen, hoping something would stick. Unfortunately, nothing does.

To make matters worse, the film is riddled with unnecessary scenes that add no value to the story (if we can even call it that). Long, drawn-out dialogues that serve no purpose, irrelevant subplots, and forced emotional moments make the viewing experience tedious. These portions seem to have been added only to extend the runtime of the film rather than contribute to character development or narrative progression. Many of the action sequences or dramatic confrontations felt like filler material - loud, flashy, but ultimately empty.

Poor script, amateurish plot, childish acting, virtually zero action, no rising or falling action, and no climax in the entire movie. Songs are a disaster.

Param's acting skill tried to do its best to save the movie, but at the end his acting skill also succumbs to the disastrous direction and plot development.

It tries to draw some random characters who are apparently well-known in Bengali TV circles, but their appearance feels like a montage of random social media reels. In the entire story, the protagonist, played by Koushani Mukherjee, goes on nagging about male flirtation like a 27-year-old celebrity trying to return to her 16-year-old teen girl life.

It fails to do any justice to its alleged prequel, Hemlock Society. Both the director Srijit, and the lead actress shall wake up and smell the coffee. Nothing in the movie comes even close to Hemlock Society, except the Audi convertible.

Absolute waste of time.

Dear srijit Mukherjee,i understand that you can't make good films now,it's ok it's happen. But why are you ruining the masterpieces you had made. First Baise Srabon and now Hemlock Society. This is the last movie i have seen from you,i swear.

All though,Koushani has outdone herself but script was just too That one star is for her. And Also Anupam Roy should take the backseat now. Comic relief was nice but everything was really forced or made up. The awful twist was quite predictable. With Ananda kar,you actually killed our feelings about Hemlock Society too. Shame on you Srijita Mukherjee, please retire and give us some peace

It is a disclaimer,if you guys want save your nostalgia don't see that movie.