Rumors of the death of the biopic have been greatly exaggerated.

The rumors go something like this: Twenty years ago, director James Mangold made Walk the Line about the life and times of Johnny Cash, starring Joaquin Phoenix as Cash and Reese Witherspoon as June Carter. It was a critical and box office hit—Witherspoon even won the Best Actress Oscar. The movie was as traditional as it gets, starting with Johnny’s abusive childhood on a farm, and going on to depict his musical ambitions, his chaotic love life, his struggles with drugs and alcohol, and his career setbacks and triumphs.

Indeed, the film was so by-the-numbers, it prompted a parody, Walk Hard: The Dewey Cox Story, which was both an uncanny simulacrum and a brutal takedown. There’s nothing like a good parody to make you realize how cliched a particular genre really is and once Walk Hard lifted the curtain its tropes, it seemed that the traditional biopic was doomed.

Not so fast! Biopics have merely evolved: Recent ones have largely eschewed the Wikipedia-style retelling of a biography, instead homing in on a particularly illuminating period of the subject’s life. I think that’s a good development, as it forces the filmmaker to reflect on what they think is important about the subject and why this pivotal time frame matters.

It’s fair to say that A Complete Unknown, Mangold’s new biopic of Bob Dylan, exists in a post Walk Hard world. We don’t have hazy flashbacks to Dylan’s childhood in Minnesota; there’s no framing device of present day Dylan, old and craggy, reflecting on his life. Instead, the film focuses on the period when young Bobby Dylan arrived in Greenwich Village with a guitar and a dream. It ends shortly after the infamous Newport Folk Festival where Dylan scandalized the assembled crowd and organizers by “going electric.” (Damn, America was cute back then.)

That said, there is nothing experimental or avant-garde in the storytelling here. It’s straightforward. Its pleasures come from seeing Timothée Chalamet channel Dylan, from its brilliant supporting cast (particularly Edward Norton as Pete Seeger—more on him in a bit), and from its painstaking recreation of the 1960s folk scene.

Let’s start with Chalamet, because that’s who you’re here to read about. Famously, he does all of his own singing and guitar/harmonica playing in the film—and most of the takes are live, because he wanted to capture Dylan’s rough and raw performance style. Only Dylan can really do justice to Dylan, but Chalamet comes close and his instinct to perform live was spot-on. He nails Dylan’s nasal, mumbly voice and he has his confident magnetism on stage as well as his hooded, cautious presence off of it. (Dylan is the rare celebrity who says he hates fame—and we believe him.) Chalamet seems every inch the brooding, tortured, formidable young talent. And the concert scenes rip.

Young Dylan gravitated to the folk scene, because he was a natural born singer-songwriter and because he idolized Woody Guthrie (Scoot McNairy). But in many ways, he wasn’t a natural fit. He simply wasn’t earnest enough—everything he did was suffused with irony. And he believed that for something to be beautiful, it also had to be a little bit ugly. He derides his musical—and sometimes romantic—partner Joan Baez (Monica Barbaro) for having a voice that’s “too pretty.” “Your songs are like an oil painting at the dentist’s office,” he sneers. Baez correctly calls him an asshole.

The foil to Dylan was Pete Seeger (Edward Norton)—as earnest and irony-free as they come. Pete meets Dylan when the young musician shows up unexpectedly at Woody Guthrie’s hospital room. (This, like many scenes in the film is an amalgamation of actual events.) Guthrie, already deep in the throes of Huntington’s disease, can barely communicate, but he bangs his nightstand with appreciation as Dylan belts out the homage tune, “Song to Woody.” Seeger, too, recognizes that Dylan is a special talent and takes him home to crash at his house for a while.

Seeger is shown as having a wonderful life. His wife is a devoted partner, both personally and professionally. His children are adorable and loving. His home exudes an easy, familial warmth. But he is not the brilliant artist Dylan is. What’s more, he truly believes in the special power of folk music—a simple song, simply told, often with a humanitarian message. Dylan doesn’t outwardly scorn Seeger—he appreciates his talent. But he sees him as a bit of a relic and he finds the music corny. And Norton plays Seeger as sweet and sincere, humbled by Dylan’s talent and a little wounded by his artistic rejection. It’s a heartbreaking performance.

The film also focuses on Dylan’s love life. There are two central women in his life—Baez and Sylvie Russo (Elle Fanning), a beautiful peace activist who brought a measure of comfort and stability to Dylan’s life, but didn’t get much in return.

It’s funny that this is one of the few films Chalamet has done where he’s a true romantic lead—Call Me By Your Name was a love story, but he was the one doing most of the pining (and he was a literal cannibal in Bones and All so does that really count?). Here, he is the object of desire—withholding, mysterious, creative, and a bit of a dick. Who among us has not fallen for that guy? (Even with the help of a slight prosthetic nose, Chalamet is more handsome than Dylan ever was. But honestly, it was Dylan’s brilliance and elusiveness that made him so alluring. And Chalamet captures those qualities well.)

Mangold is a an exceptionally competent director. You can sit back and know you’re in the hands of a true pro. But he does have a hard time avoiding cliché or facile mash-ups. The Civil Rights movement is merely a tiny backdrop to the film, although Mangold makes it very clear that Black artists approved of the young troubadour. (At least twice he has an established Black blues artist—Odetta, in the wings of the Newport Folk Festival, and the made-up bluesman Jesse Moffett, on the set of Pete Seeger’s public access television show, Rainbow Quest—nod approvingly as Dylan sings.) This strikes me as self-serving, a shorthand for really delving into Dylan’s relationship to Black music and the civil rights movement. And Mangold uses Johnny Cash (Boyd Holbrook), clearly one of his heroes, as an avatar for artistic rebellion and integrity. (“Track some mud on the carpet,” he advises young Bob.) The pep talks he gives Dylan were likely fabricated.

The heart and soul of the film, though, is that relationship between Dylan and Seeger. And here’s where giving a film focus really does help. Because Norton’s open, searching face will break you. But it also reflects a larger cultural shift, away from a more decorous kind of counterculture, to one that was loud and rebellious and angry.

Do we understand Dylan better after watching A Complete Unknown? A bit. He’s a famously elusive figure (which Todd Hayne’s cleverly tackled in his experimental Dylan biopic, I’m Not There, by giving Dylan several different personas played by different actors). But the film’s biggest thrill is watching the formation of an uncompromising artist and getting a little taste of what it must’ve been like to wander into Gerde’s Folk City on a random night and see a young man in a snap cap who was about to change the world.

In the digital streaming era, one of the biggest flexes an artist can have is being a member of Spotify’s Billions Club, a playlist that highlights every song that has been streamed more than 1 billion times on the platform. Among the nearly 500 artists who have graced the glorified list are Mariah Carey (“All I Want for Christmas Is You”), Rihanna (“Needed Me”), Fleetwood Mac (“Dreams”), Kendrick Lamar (“All the Stars” featuring SZA), Billie Eilish (“Ocean Eyes”), but the distinction of having the most tracks — 24 to be exact — to hit 1 billion streams on Spotify belongs to the Weeknd.

To commemorate this milestone, the Toronto pop star teamed up with Spotify to host an intimate, invite-only concert with nearly 2,000 of his biggest fans — his top 10% listeners on the platform — on Tuesday night at the Barker Hangar in Santa Monica.

“It’s a little holiday gift for the OG XO fans supporting me [since] Day 1,” the Weeknd said during his 70-minute set. “2024 is almost done, but 2025, we got some new s— coming out. New album. New tour. New movie. New everything. We’re shutting this s— down.” His upcoming album “Hurry Up Tomorrow,” which is the third and final installment of his “After Hours” / “Dawn FM” trilogy,” will be supported by a psychological thriller starring the singer born Abel Tesfaye, alongside Jenna Ortega and Barry Keoghan.

With the support of his longtime collaborator Mike Dean (on the keys) and guitarist Patrick Greenaway, the Weeknd performed 20 of the 24 songs that landed him on the Billions Club playlist including “Blinding Lights” (the most streamed song on Spotify), “The Hills,” “Can’t Feel My Face,” and “After Hours.” He also performed three additional songs for the energetic crowd, who knew every word, including “São Paulo,” “Timeless,” and “Wicked Games.”

“I know that song didn’t hit a billion, but I felt like I had to do it,” he said about “Wicked Games.” “It’s necessary, at least one ‘House of Balloons’ song.”

Fans started lining up overnight at 4 a.m. for the highly anticipated show and a few folks traveled from Newark, N.J., for the chance to get inside even though they didn’t have tickets to the event. (Unfortunately, the aforementioned Jersey fans didn’t make it inside because they didn’t have a ticket.) The special night featured food trucks including L.A.’s beloved Kogi Korean BBQ, an open bar (for attendees 21 and up) and the Weeknd merchandise — all of which was free to attendees.

For an international superstar like the Weeknd, who regularly sells out arenas and stadiums around the globe, the event was a chance for fans to experience his music in a personal setting. In fact, it was likely the first time since his early days that he’s performed for an audience of fewer than 2,000 people. “It feels like back in the ‘Kiss Land’ tour,” he said. “Maybe after the stadium tour, we’ll go back to smaller venues. I like this.”

Ashley Graver, who leads artist partnerships and is head of pop, dance and indie at Spotify, says the Weeknd and his team were involved throughout the entire process of putting together the show, including on the merch design, stage and sound design.

“This milestone really shows how massive the Weeknd’s impact is around the world,” she said. “His success is a testament to his artistry and his constant drive to push creative boundaries. Right now, ‘Blinding Lights’ is the most-streamed song on Spotify, even four years after it came out, which just goes to show how much staying power he has and how loyal his fans are.”

Before the show, we caught up with attendees to ask them about their fandom and what it means to be invited to such an exclusive event.

Elijah Shen Muralles, 21, left, and Cole Dizon, 20, attend the Weeknd’s show with Spotify on Tuesday in Santa Monica.

(Jason Armond/Los Angeles Times)

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Cole Dizon and Elijah Shen Muralles

Age:
Dizon: 20
Shen Muralles: 21

Neighborhood:
Dizon: Lancaster
Shen Muralles: South Gate

How long have you been a fan of the Weeknd?
Dizon: About two years ago, one of my friends showed me a few songs — some of the mainstream ones like “Die For You” and “Blinding Lights.” I knew he was a household name, but once I started getting into the groove of it, I was like “OK, he’s pretty good.” Eventually, I went to his Spotify profile and started listening to more of his songs. I was like, “Hold on. I can see why he’s so popular. The trend has motion to it.” So I started listening to him more and more.

Shen Muralles: I would hear him here and there and he was always one of the big celebrities, but I didn’t really get deep into it until maybe like a year or two ago. My friend was just blasting his music all the time and I was like, “You know what, I’m going to hear this artist out.” After a few songs, I realized, “Oh my gosh. He’s one of the best sounding artists I’ve ever heard. I should’ve hopped onto the bandwagon sooner.”

What’s your favorite song by the Weeknd?
Dizon: “I Feel It Coming.” Daft Punk is a classic. When the song dropped, I wasn’t on the bandwagon yet but listening to it recently I was like, first off, I remember this song. [Secondly], I’ve been sleeping on this because this is straight heat.

Shen Muralles: “House of Balloons.” I’m a big fan of the first half. The second half is still really good. However, I think the first half, it’s just the beat, the lyrics, it really just gets me in the mood. Also, “Stargirl Interlude.” I’m a bit of a Lana Del Rey fan. Her voice just hard carries that song.

How does it feel to be at this exclusive show?
Dizon: It’s super surreal. When I got the email [invite] from Spotify, I didn’t believe it was real… We got here and saw the line and I was like, “Holy smokes! This is actually legitimate.” We were stressing in line cause we thought we weren’t going to get in… I’m going to see him in like four weeks from now [at his tour], so to me this is not only a wonderful surprise, but it’s a great love letter to his fans.

Shen Muralles: I’m not one to drop a whole lot of money to go to concerts, so to get to come to something like this with Spotify is like, “Wow, this is crazy.” I’m just so grateful to be here because this is like a once in a lifetime opportunity for me… This is a Christmas gift right here.

Friends America Maldonado, left, Maya Garcia and Kessai Suksanguan were among the first people in line at the Weeknd’s Spotify show in Santa Monica.

(Jason Armond/Los Angeles Times)

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America Maldonado, Maya Garcia and Kessai Suksanguan

Age:
Maldonado: 21
Garcia: 21
Suksanguan: 19

Neighborhood:
Maldonado: Downtown L.A.
Garcia: Bellflower
Suksanguan: Long Beach

How long have you been a fan of the Weeknd?
Maldonado: Since I was 13. I would listen to his mixtapes.

Garcia: Probably since middle school.

Suksanguan: Around middle school. I would hear him a lot on the radio.

What’s your favorite song by the Weeknd?
Maldonado: “Adaptation.” It’s just a beautiful story. If you listen to [the album] “Kiss Land,” every song ends and it just continues on with the story.

Garcia: I know it’s basic, but I’m going to say “Earned It.” It’s super catchy and it highlights his voice, which I love.

Suksanguan: “After Hours.” I really like the style of that whole album and that time period for him.

How does it feel to be at this exclusive show?
Maldonado: It feels amazing. Unfortunately, I’ve only seen him perform live twice. I’ve been listening to him for so long, but to be a part of this free event where I feel comfortable, is great.

Garcia: I’m honestly so glad that he’s doing this show in L.A. I just love being here in L.A.

Suksanguan: I think it’s just really special that it was free and invite only, so it makes us feel really wanted and really special. And the fact that it’s close to us too, it’s really convenient.

Hamza Akmal, left, Adeeb Ali and Ameer Ali attend the Weeknd’s Billions Club show in collaboration with Spotify on Tuesday at the Barker Hangar in Santa Monica.

(Jason Armond/Los Angeles Times)

Hamza Akmal, Adeeb Ali and Ameer Ali

Age:
Ameer: 25
Adeeb: 28
Akmal: 29

Neighborhood:
Ameer: Whittier
Adeeb: West Covina
Akmal: Culver City

How long have you been a fan of the Weeknd?
Ameer: The Drake collabs made me a fan. The songs were very unique. I’d never heard anything like that at the time.
Adeeb: I became a fan when I heard him on “Crew Love” with Drake. I was like, “This guy is good.”
Akmal: I became a fan around high school [around] like 2011. A couple of my friends liked to explore a lot of new music and they told me to check him out, so I’ve been listening since then.

What’s your favorite song by the Weeknd?
Ameer: I’m a big Michael Jackson fan. I love how the Weeknd did “Dirty Diana” [with his song] “D.D.”
Adeeb: “Out of Time.” It’s just so pretty. He sampled some Japanese city pop and it sounded really nice.
Akmal: Probably “The Hills.” It’s just too catchy for me. I just love the beat of it and everything.

How does it feel to be at this exclusive show?
Ameer: It’s exciting.
Adeeb: It seemed a little too good to be true. I was like, “Are we being set up right now?” And like, no, it’s just super cool.
Akmal: Coming to this, I didn’t really know what to expect, but based on what I’m seeing, it’s really cool to be here.

Mother and daughter, Kenyah Moore, 18, and Shenita Moore, 48, attend a show put on by Spotify to celebrate the Weeknd on Tuesday.

(Jason Armond/Los Angeles Times)

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Shenita and Kenyah Moore

Age:
Kenyah: 18
Shenita: 48

Neighborhood:
Kenyah: Santa Monica
Shenita: Santa Monica

How long have you been a fan of the Weeknd?
Kenyah: He’s just always been there. Growing up, he’s one of the most popular artists of my generation.
Shenita: I’m just here supporting her, but I am familiar with his music.

What’s your favorite song by the Weeknd?
Kenyah: “In the Night.” I like the story that it tells.

How does it feel to be at this exclusive show?
Kenyah: I’m glad I saw the email. It’s a pretty cool thing that he achieved — to get that many songs over 1 billion [streams].

Grace Chandler, left, Jessie Sheridan and Isabella Elsesser were among the nearly 2,000 fans who were invited to attend the Weeknd’s Spotify show.

(Jason Armond/Los Angeles Times)

Grace Chandler, Jessie Sheridan and Isabella Elsesser

Age:
Chandler: 20
Sheridan: 20
Elsesser: 19

Neighborhood:
Chandler: Long Beach
Sheridan: San Luis Obispo
Elsesser: Long Beach

How long have you been a fan of the Weeknd?
Chandler: It had to have been when I was in the fifth grade when “The Hills” came out. Everyone was singing that song and I would play it 24/7 with my mom and my sister. Respectfully. It was just the beat. It just started from there.

Sheridan: Since the third grade. My sister put me on. I have no idea what album it was, but that was my life. I’ve been singing his music since the third grade. He will always and forever be my guy.

Elsesser: I heard about him from “The Hills” but it was the Echos Remix. There’s a woman who sings it in a house, dubstep kind of way and I was always into dubstep. I was like, “Yes. Yes. I love this.”

What’s your favorite song by the Weeknd?
Chandler: “Stargirl Interlude” and “Save Your Tears.”
Sheridan: “Stargirl Interlude.”
Elsesser: “The Morning” [starts singing song]. It’s empowering. I feel like I’m the girl. I’m like “Yeah, I’m the money. I’m the motive.” I also love “São Paulo” with Anitta. It’s so fire.

How does it feel to be at this exclusive show?
Chandler: Unreal!
Sheridan: So exciting.
Elsesser: I’m excited to dance.

Zachary Cutting, 37, of Belmont, Calif., wears an exclusive hoodie from the Weeknd’s Spotify Billions Club performance on Tuesday.

(Jason Armond/Los Angeles Times)

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Zachary Cutting

Age: 37

Neighborhood: Belmont, Calif.

How long have you been a fan of the Weeknd?
I was doing security at the Fonda Theatre, but he wasn’t popular yet. I heard him performing. He did the “Dirty Diana” song and I liked that, so from then on, I followed his career and I’ve been a fan ever since.

What’s your favorite song by the Weeknd?
“Is There Someone Else?” Sometimes I be wondering… with the person I’m talking to, like, “Is there someone else?” [laughs]

How does it feel to be at this exclusive show?
I’ve only seen him perform that one time, so I’m excited.

Carmen Flores, 25, and Marco De La Cruz, 26, of Maywood arrived at the Barker Hangar early so they could attend the Weeknd’s Billions Club show with Spotify.

(Jason Armond/Los Angeles Times)

Carmen Flores and Marco De La Cruz

Age:
Flores: 25
De La Cruz: 26

Neighborhood: Maywood

How long have you been a fan of the Weeknd?
Flores: I think I was in middle school. My sister asked if I ever heard of his music.

De La Cruz: Around 2015-2016, probably during the “Trilogy” era.

What’s your favorite song by the Weeknd?
Flores: “Faith.” First of all, I think it’s a very fun song. Just meaning of faith and how it transitions into [the next song, “Blinding Lights”]. It’s very underrated.

De La Cruz: “After Hours.” Just the whole production on that song and his vocals.

How does it feel to be at this exclusive show?
Flores: It means everything. But I will be seeing him again next month and I also saw him with Mike Dean on March 1 at the Wiltern when he came out with Travis Scott and it was the best thing ever.

David Reyes, 19, of Riverside became a fan of the Weeknd after his sister put him onto the pop star’s “Starboy” album.

(Jason Armond/Los Angeles Times)

David Reyes

Age: 19

Neighborhood: Riverside

How long have you been a fan of the Weeknd? My sister put me on when “Starboy” came out. She always played it.

What’s your favorite song by the Weeknd?
“Die For You” for sure. It’s just a classic. 10/10.

How does it feel to be at this exclusive show?
It’s very unique how Spotify and Abel are doing this for his fans. It’s just cool how artists actually care for their fans.

Catherine Carrasco, 25, and Jonathan Serna, 26, were among the first fans in line at the Weeknd’s exclusive Billions Club show put on by Spotify.

(Jason Armond/Los Angeles Times)

Jonathan Serna and Catherine Carrasco

Age:
Carrasco: 25
Serna: 26

Neighborhood:
Carrasco: Santa Ana
Serna: Santa Ana

How long have you been a fan of the Weeknd?
Carrasco: In 2015. I was a sophomore in high school. I think the first song that I listened to by him was “The Morning” and I got introduced to his music by an ex-boyfriend. [laughs] I got this hoodie a while ago and then his first concert I went to was the “Starboy” [tour].
Serna: When “Starboy” released, I kept listening to it on repeat like crazy. After that, I listened to everything he’s made and I became a fan. I wasn’t a big fan until “After Hours” [though].

What’s your favorite song by the Weeknd?
Carrasco: That’s such a hard question. I think “The Birds Pt. 1” and Pt. 2. I love every song by him, but I have those on repeat. He’s No. 1 on my Spotify Wrapped every year.
Serna: “After Hours.” He was No. 1 on my Wrapped.

How does it feel to be at this exclusive show?
Carrasco: I’m like shaking. I’m excited. I’ve seen him a couple of times, but this is a free event.
Serna: It’s amazing. I didn’t think I was going to get it. When I got the [email], I just went on break at my job. They gave you like 20 minutes to respond and I know she would’ve killed me if I didn’t.

Katherine Martinez, left, Jorge Martinez and Angelina Bomar flew to L.A. from New Jersey for the chance to attend the Weeknd’s Spotify show.

(Jason Armond/Los Angeles Times)

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Jorge Martinez

Age: 20

Neighborhood: We live in Newark, N.J. I saw a couple of TikToks like two days ago about the Spotify event. Unfortunately, we’re on Apple Music so we didn’t get the invite, but I was like maybe Abel might stop and sign our vinyl. She has on her “After Hours” hoodie. We came here for the SoFi show in November for the three-year anniversary. [Then we came back for this], so we traveled a long way.

How long have you been a fan of the Weeknd? I’ve been a big fan since “After Hours” came out. It was really good. It was a dream seeing him in concert [at his recent show]. The next dream is hopefully meeting him.

What’s your favorite song by the Weeknd?
“After Hours.” The way it slowly transitions to the beat drop — I like the 808s.

You flew out to L.A. just for the chance to see the show even though you don’t have tickets. Why was it important to you?
It would mean a lot for us to make it inside of the show or even to meet him, that would be amazing too. We’re planning to maybe fly out to the Rose Bowl show. But we got to try it out.

[Unfortunately, Jorge, his girlfriend and sister didn’t make it inside of the show because they didn’t have tickets.]

In the final moments of the movie Rifle Club, there are references to the Wild Wild West films that have Mexican stand-offs and stuff. The intention of Aashiq Abu and his writers is to create something of that texture against the backdrop of the hill stations of Kerala, where placing a similar wildness and lawlessness is very convincing. With a runtime of around 114 minutes, the movie is very much focused on what it wants to say, and a larger chunk of the screenplay is invested in building the club and its characters. While the pre-climax face-off between the two gangs is pretty slick and engaging, somewhere, I felt the finale needed a bit more refinement to have that wow factor.

As you can guess from the title, the film is about a rifle club in Wayanad. The story is set in 1991, and a Malayalam superstar named Shajahan, who predominantly works in romantic films, has come to the club in order to get some training in hunting. He has plans to do a hunting movie similar to Mrugaya. But the night he chose to spend there wasn’t really the best day as the club had uninvited visitors. Who are these visitors, and what they really want is what we see in Rifle Club.

The structuring of Rifle Club, to an extent even the location, has a similarity to Varathan on a script level. A major part of the movie is getting invested in showing us who these characters are, how they are to each other, and to what extent they can go. In the middle portions of the movie, you can see the script trying to draw parallels between the events happening in the Rifle Club and the actual hunting. The script neatly foreshadows many things that really elevate some portions of the final act of the movie. Just like Varathan, it is the counterattack that really sets the ball rolling. And the banter that happens between Dayanand and Avaran is hilarious, and in those patches, you get to see the Aashiq Abu we sort of missed post-COVID.

Dileesh Pothan, as Avaran, is pretty agile and confident. The body language and the dialogue delivery are on point, and you can sense the experience of that character in the way he has performed. Anurag Kashyap, as the antagonist, gets to be this crazy dad character. In most of his acting gigs, we have seen him do similar stuff, and this time, it was in better clothes. Vijayaraghavan, as the veteran of the club, was pretty good. Vishnu Agasthya plays a fairly extensive character in the movie, and he performed his part with ease. Sooraj, aka Hanumankind, as Bheera was fine in that eccentric character and it was actually a good casting choice. Vineeth Kumar plays the part of the film star, who transforms over the course of the incident. The rest of the cast has some big names like Suresh Krishna, Vani Vishwanath, Surabhi Lakshmi, Unnimaya Prasad, Darshana Rajendran, etc. Their screen times are relatively less, but they are all pretty memorable because of the character quirks.

Aashiq Abu, who has also done cinematography for this film, knows that surprise isn’t really the element that can make this movie work. World-building is really necessary for the final act to work, and for that, writers Syam Pushkaran, Dileesh Karunakaran, and Suhas use the first half. You get to see the rough dynamic between the members of the club. The things that Avaran tells Shajahan while he aims, which also come in the form of lyrics, are basically a description of the attitude of the club members. The cinematography opts for monochromatic sharp lights for a lot of sequences, which sort of sets a genre movie ambiance. Rex Vijayan’s tracks and background score really pump up some of the setpieces.

As I already said, Rifle Club is under two hours long, and it is not beating around the bush to get to the main deal. That aspect of the movie, along with a banter-filled set piece in the final act, really elevates the film. But in totality, I felt the ending should have been a better extension of the kind of action we saw till that point. On the bright side, for people who used to love Aashiq Abu films, this one gives reassurance that he still has it in him.