User reviews

Didn't understand the need of this movie, same story but with bad chemistry and poor screenplay, basically they took everything good from the previous film and turned into a 2 hour long mess, You will absolutely no empathy for the characters, I once heard "good acting cannot save a terrible script", I love the director, and was hugely impressed by it's predecessor, Hemlock society (2012). The songs feel fresh kintu er theke beshi ete kichu e nei. This has to be the most cliched ending to ever exist. I cannot seem to recommend this to anyone maybe cast er fan thakle dekhte paro, Baaki expectations rakhle disappointed hobe.

First Poorna's video and the backstory Honestly, they give this plot no time, why he is releasing the video! How can we relate to the toxicity of that relation! There's nothing, it's like "he felt like that".

Second Poorna's overacting and emotional misconducts In hemlock society we loved Meghna's rants, they were both hilarious and on point, I get she was getting frustrated and why so. But here all the rants were over forced. Also the glasses! I mean why? To make her more relatable to Meghna? Whatever didn't suit her.

Finally the ending! Well you know for years we had this question what happened to Ananda Kar , where is he? That question was better unanswered....

This movie is good, but not extraordinary or better than The Hemlock Society. It's good for entertaining your time!

The story plot is normal and predictable.

Actors perform well, but I expect better, especially from Parambrata sir And the most Important ending is too boring.

Songs are good, but I don't expect deep meaning lyrics from Anupam Roy Sir And Srijit Mukherjee Sir, please request to make a very good Thriller Suspense, physiology Horror genre movie, you made this type of movie great,

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.

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.

A wafer thin plot marred by a non existent screenplay. Apart from the performances of Koushani, Parambrata, Sandipta and the supporting cast, the film hangs on a thin thread. Srjiit Mukherjee absolutely misses the mark with this one. He has been unable to do justice to Angelina Jolie's story and seems to just associate himself with her name with this abysmal attempt. Anupam Roy and Srijit Mukherjee should definitely retire! The background score and songs are a torture to the ears. There are endless minutes which could have been chopped off during editing. This movie is NOT at all about social or mental awareness. It literally makes fun of depression and other mental disorders.

What makes Killbill Society truly resonate with me is how fearlessly it weaves together the themes of death and body-centric love-two forces we often keep at arm's length. The film doesn't treat death as a distant event or a dramatic climax; it treats it as an everyday presence, an invisible thread stitched through our joys, sorrows, and even our desires. And somehow, it makes that presence feel beautiful, even necessary.

Mrityunjoy, who seems to dance in death's shadow, doesn't fear it. He embraces it-talks to it, laughs with it, and in doing so, teaches those around him to live more fully. His view of death is not dark or nihilistic; it's tender, almost intimate. Through his eyes, death becomes a soft mirror-one that reflects not just our fears, but also our hunger for touch, for love, for being seen.

That's where the film's exploration of body-centric love becomes so powerful. It doesn't shy away from the physical, the tactile, the raw reality of human connection. But it never reduces love to mere desire. Instead, it shows how physical closeness can be an act of healing, even defiance-a way of saying, "I exist, I feel, I'm alive." Poorna's moments of vulnerability-when she lets herself be touched, not just physically but emotionally-are where the film breathes its deepest.

To love, knowing death is near, is the bravest thing we can do. And Killbill Society honors that courage. It suggests that love grounded in the body-real, flawed, tender-can be our loudest affirmation of life in the face of the inevitable. It's in the warmth of skin, in shared silences, in the pain of parting, that the film finds its truth: we are mortal, and that's what makes our capacity to love so profound.

I will begin by highlighting the positive aspects, as they are very limited in number.

First and foremost, the music is well-crafted and well aligned with the overall atmosphere of the film. Secondly, Biswanath Basu displayed commendable comic timing, which elicited a few chuckles.

However, the remainder is a disappointment. It appears to be nothing but a chaotic and poorly organized attempt to capitalize on the success of the OG, it should have never materialised!

The most notable decline in this installment is the character development. Unlike in Hemlock Society, where I can effortlessly empathise with Meghna's pain and frustration and support her newly forged relationship with Ananda Kar, KillBill Society fails to evoke any emotional resonance me.

Even though Koushani and Parambrata made efforts to uplift the bland script, their attempts yielded minimal impact, thus I found it difficult to connect with their struggles or joys for that matter.

This is particularly disheartening given that this sequel follows a movie that's still highly praised and regarded as a cult classic among Bengali audiences.

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.

Despite a promising soundtrack that adds emotional weight, the film ultimately disappoints due to its weak screenplay and inconsistent execution. Prambrata delivers a solid performance, bringing depth and nuance to his role, but Kaushani and others fail to create a convincing presence, leaving the narrative feeling hollow. Biswanath, however, shines with his fabulous acting, injecting much-needed energy into the film. Unfortunately, even these standout performances cannot mask the film's poor pacing, lack of engaging storytelling, and underwhelming execution. The screenplay struggles with coherence, failing to hold the viewer's attention. Moments that should resonate emotionally feel forced, making the experience frustrating rather than immersive. While the music is commendable, carrying some of the film's weight, it ultimately falls short of being enough to salvage the overall viewing experience. A stronger script and tighter direction could have elevated this film beyond its shortcomings.

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.

Extremely slow moving movie. Horribly poor jokes representing the diminishing of humour in Srijit. A wasted sequel. Last 15-20 minutes of the movie was so bad, it made a mockery of death. Thankfully I watched it on OTT. Really feel sorry for the people who spent money and watched it in theatres. Just wondering, how can the crew not realise this disaster after the final internal screening, what trash they have come up with.

The ending of the movie is beautiful and perfect. The cinematography is lovely too. The songs are good and no they are not made for reels. It's a good old romantic movie that has wonderful musics. If you're watching this movie to know what happened to Angelina Jolie, then you'll be very dissatisfied. The movie is really not based on her life but is loosely inspired from that. Otherwise it's a romantic thriller movie. And no it's not really trying to create any awareness against mental health. But it didn't really mock mental health as well. Just a romantic movie but I got to watch a good romantic movie after a long period of time.

Killbill Society A Bengali film- A review

Remember Meghna of Hemlock Society( 2012 Bengali film by Srijit Mukherjee), where she, emotionally distressed, wants to end her life but fails. In comes, Ananda Kar of the Hemlock society who organizes courses on how to commit suicides!!! Meghna attends a workshop and at the end of it, she becomes enchanted with life once again and leaves the Hemlock society, a transformed lady.

Srijit is back with "Killbill society" this time. At the centre of this plot, is Poorna Aich ( Koushani Mukherjee is a revelation in this film) , a star insta influencer who has just won an award for her debut film. Her popularity soars and she's all over the media channels. Her beau doesn't take to her sudden rise to fame charitably and insinuates that she must be sleeping with the film's director or the producer. The relationship gets very toxic and Poorna decides to walk out on her boyfriend. The complexed guy doesn't stop there and decides to teach Poorna a lesson.

He releases intimate videos of theirs and Poorna is at her wit's end. People get involved in discussing saucy details. Poorna's budding career goes for a toss. She becomes a butt of ridicule. She even contemplates suicide but cannot muster enough courage. She then hires a contract killer for herself!!!

Before she even ends her call to a 'don', comes Antarip Karmakar, the contract killer. He is a professional who kills for money and explains his terms and conditions to Poorna.

"100% advance, madam, you understand. I cannot get my full money once you are killed!", he reasons.

Thereafter starts the operation and the 'killer' ( played convincingly by Parambrata Chatterjee). Both of them come in close proximity during the 'planning' stage. He shadows Poorna in her various activities everyday, apparently to plan her elimination!

Will the killer succeed in this 'venture'? Or something unexpected will happen on the way. Well, I cannot divulge lest I be called a contract 'killer'! The build up and denouement of the movie is indeed interesting. Go and see the movie.

The movie has Srijit Mukherjee stamped all over it. It abounds in scenes with puns, subtle humour, poignant moments backed by beautiful music and cinematography. The screenplay is beautifully written by him. The movie seldom ever sags. Maybe some will say certain scenes drag with verbosity and garrulity. I would rather say let the devil be given his due. After all he's the captain of the ship and the writer on top of it. Let Srijit show that he is well read!

All in all, 'Killbill society' is an immensely watchable film. And yes, by Srijit's standards there's little or no convolution in the plot. That's a big relief to old brains like mine!

AMIT BRAHMO KOLKATA, APRIL18, 2025 @@@@@@@@@@@@@ @@@@@@@@@@@@@

This movie is a sequel to the popular film Hemlock Society, directed by Srijit Mukherji. It tackles mature and sensitive subjects such as emotional damage, cyberbullying, harassment, and suicidal thoughts. The story presents an intriguing twist, but the actors' performances lack authenticity. It feels like they are merely "acting," which is not the intended effect of a movie. Furthermore, the writers believed that using profanity would make them appear cool, but this approach fails to resonate with the audience. Overall, this movie is a one-time watch, and I wouldn't want to compare it to the profound and chilling impact its prequel had on viewers.