Animal Movie Review | A Sandeep Reddy Vanga Movie

Here is my Animal Movie Review:

I watched Animal, directed by Sandeep Reddy Vanga, and I would like to share my Animal movie review. After exploring various reviews and discussions, I found that my long experience in film critique has shifted my perspective; I can no longer view a film purely as a spectator.

Sandeep Reddy Vanga has certainly sparked debate with Animal, which I believe will remain a topic of discussion long after its theatrical run. The film's raw honesty may influence cultural conversations moving forward. However, I felt less engaged with the family conflict and the father-son relationship, particularly missing a pivotal scene where Anil Kapoor's character could have had a meaningful conversation with his wife about their son, which would have enriched the emotional narrative.

Vanga's innovative use of clichés as foundations for unique scenes is commendable. He presents familiar themes in fresh ways, challenging the moral standards often seen in traditional filmmaking. The film's pacing, which some critics have labeled slow, actually enhances its surprise elements for me. A standout moment occurs when Ranbir’s character unexpectedly returns not with a baseball bat but with a machine gun—a striking cinematic choice.

Ranbir's line, "Happiness is a decision," encapsulates the film's essence, blending innocence with conviction. The buildup to his declaration to his father—“I will destroy the world if anyone lays a finger on you”—was compelling, akin to the careful preparation before applying icing to a cake.

The pre-interval fight scene set to Arjun Velly’s song evoked memories of Michael Jackson’s “Beat It.” While some may view this approach as unconventional, it aligns with Ayn Rand’s philosophy that art encompasses not just what it is but also what it could be. This perspective solidifies Vanga’s status as an artist.

Some comedic moments, like the discussions about inappropriate topics, may seem out of place but serve to deepen our understanding of the protagonist. However, I found the interval fight scene with masked characters less effective and felt it deviated from the overall tone of the film. Additionally, certain sequences, such as the body double scene and climax fight at the airstrip, did not resonate with me.

In one scene featuring masked men killing a decoy, I questioned why the lead villain would remove his mask if anonymity was their goal—this choice surprised me regarding Vanga's direction. The sister's confrontation with Vijay after discovering her husband's fate was brilliantly executed and elevated beyond similar moments in The Godfather, as Vijay directly informs her of her husband’s demise.

Bobby's introduction as a villain is one of the most original in cinematic history—revealed through an innovative split-screen effect. Another notable moment occurs when Vijay walks nude to symbolize his regained health—a bold statement that left an impact.

While Vijay's character occasionally faltered during his shoe-licking command to another character—perhaps due to the actress's strong performance—I found Rashmika's confrontation regarding substance use well-written and executed; her performance was impressive.

Initially concerned about Ranbir potentially overacting based on trailers, I found that his portrayal did not overshadow his character but rather complemented it. His emotional vulnerability throughout the film displayed greater strength than mere physicality.

In conclusion, Sandeep Reddy Vanga has challenged conventional filmmaking norms through Animal. His work encourages industry professionals to rethink clichés and inspires future writers and directors to expand cinematic boundaries.

The impactful jump cut from Anil’s last line to Ranbir weeping in Shakti Kapoor’s lap left a lasting impression on me. This version maintains your insights while presenting them in a more polished and concise manner.