There’s an old Russian joke: What happens when you put a group of conniving, sycophantic, power-hungry, self-serving, ruthless, frightened, nasty men together in a room?
Alright, there is no joke. Let’s try again.
What happens when filmmaker Armando Iannucci (In the Loop, Veep, Thick of It) puts the above Gang of 7 into a suite of rooms and adds the poisoning presence of Joseph Stalin, both as a living, John Wayne loving, Mozart appreciating, mass murderer, and as a corpse, ripe for peasant grieving, and soviet secretaries’ scheming?
What you get is a very dark comedy that walks the trapeze line between pain and laughter, between mockery and uncomfortable humor, between moral repugnance and a very squeamish empathic recognition. You get satire of the darkest hue. You get The Death of Stalin, which really does feel like a dangerous feat accomplished admirably well.
As both his body of work and his interviews attest to, Iannucci is a political junkie. He is endlessly fascinated with the machinations of statecraft and can rattle off the names of politicos the way some fans can list every New England Patriot to wear the uniform. But what most fascinates him are those patriots that have gone terribly afoul, both the incompetents and the sharks. And here, at the end of Stalin’s (Adrian McLoughlin) reign of terror and the introduction of Nikita Khrushchev’s (Steve Buscemi) Cold War Soviet Empire, he finds plenty of both.
It all begins with a Mozart Piano Concerto, a piece of gentle and sublime beauty, that, as is typical with Iannucci, only lasts a few moments before it becomes an element in a scene about both political fear and survivalism and personal courage on the part of the pianist.
It’s best to enjoy that moment of courage because it is the last you’ll see. For the next two hours it’s going to be one summary execution, urine or blood soaked carpets, and acts of political backstabbing, blackmailing, and pedophilia enacted behind closed doors or recorded in dossiers after another. And that’s just the first hour. We can look forward to brain removals and more in the second hour. So, how could all of this be funny?
It begins with a flawless cast, including a welcomed return by Monty Python’s Michael Palin and knockout performances by both Buscemi and Simon Russell Beale as Khrushchev’s nemesis, whose mixed nationalities and accents make this as much about the world today and forever, as about Russia in 1953.
Also, the script’s ceaseless barbs, fumbling excuses, whispered terrors and conspiracies, childish tantrums all seem perfectly plausible given the characters and situations, but they are also devilishly wicked. (As an aside, Iannucci’s Olympian talent at writing the most vulgar and poetic swearing is not on the scene in this period piece) But what makes it all come together is the deadpan delivery. Not for a moment does he grant the characters a chance to wink and nod, nor himself to rest on his laurels or his easy targets. These are horrible times and these men are a truly pathetic and awful confederacy of dupes and dictators, but the mayhem continues and the men take themselves awfully seriously.
And that will work for some viewers and not for others. For some, this will not be a comedy, nor will it be a drama. It will be something unclassifiable and even off-putting. For the current Russian state, it is very classifiable: It’s been condemned and banned. Though, I personally didn’t care for it as much as I like all of his other work, for those with a taste for the underbelly of political satire, done relentlessly and ruthlessly, you’ll enjoy Stalin’s death. Cue the Mozart.
Genre: Action Thriller
Runtime: 2 hours 45 minutes
Director: Prithviraj Sukumaran
Writer: Murali Gopy
Starring: Mohanlal, Prithviraj Sukumaran, Indrajith Sukumaran, Manju Warrier, Tovino Thomas
Studio: Aashirvad Cinemas, Lyca Productions
The Good: What Empuraan Gets Right
Mohanlal’s Magnetic Screen Presence: As Stephen/Khurēshi Ab’raam, Mohanlal owns every scene. His silence speaks louder than words, and his layered performance adds emotional gravity to the action.
Prithviraj’s Direction Shines: Seamlessly balancing intense set pieces with political intrigue, Prithviraj proves again he’s one of the most visionary directors in Indian cinema today.
Murali Gopy’s Sharp Screenplay: The film is packed with political subtext, philosophical dialogue, and thrilling twists that reward patient viewers.
Stunning Cinematography and Score: The visuals, spanning locations from India to the Middle East, are breathtaking. Deepak Dev’s music elevates every sequence, especially the high-stakes confrontations.
Strong Supporting Cast: With Indrajith Sukumaran, Manju Warrier, and Tovino Thomas in key roles, the ensemble delivers solid performances that complement Mohanlal.
The Bad: Where Empuraan Falters
Pacing in the First Half: The film takes its time building the narrative, which may test the patience of action-seeking audiences early on.
Complexity Might Alienate Casual Viewers: With deep political allegories and global criminal dynamics, it’s not exactly light fare — viewers unfamiliar with Lucifer might feel lost.
A Bit Too Long: At 2 hours and 45 minutes, some scenes — particularly flashbacks — could’ve been trimmed without losing impact.
Empuraan Is a Gripping and Ambitious Sequel That Raises the Stakes After the massive success of Lucifer (2019), fans have waited with bated breath for the sequel — and Empuraan does not disappoint. Directed with confidence by Prithviraj Sukumaran, this 2025 Malayalam action thriller expands the universe of Lucifer, diving deeper into the underworld empire of Stephen Nedumpally (Mohanlal) and the origins of the mysterious Khureshi-Ab’raam.
Empuraan is a masterfully executed Malayalam action thriller that expands its cinematic universe with flair. Mohanlal delivers another iconic performance, and Prithviraj continues to evolve as a bold director who knows how to handle scale and subtlety alike. While the film’s pacing and complexity may not appeal to everyone, for fans of intelligent, stylish Indian cinema, Empuraan is a must-watch.
Final Rating: 8.5/10
Recommended for:
Fans of Lucifer, Indian political thrillers, Mohanlal admirers, Malayalam cinema lovers, and viewers who appreciate layered storytelling and high-stakes action.
Nandamuri Taraka Rama Rao Jr., affectionately known as Jr NTR, has consistently enthralled audiences with his dynamic performances and versatile acting prowess. Following the successful release of “Devara: Part 1” on September 27, 2024, fans are eagerly anticipating his forthcoming projects. Here’s an overview of what’s next for this action superstar.
1. Devara: Part 2
After the resounding success of “Devara: Part 1,” which grossed over ₹466 crore globally, the sequel is highly anticipated. Director Koratala Siva has hinted that “Devara: Part 2” will be even more intense, stating that if Part 1 showcased 10% of Jr NTR’s capabilities, Part 2 will unveil the remaining 90%. Filming is slated to commence in the first half of 2026, with a targeted release by the end of that year.
2. War 2
Expanding his horizons, Jr NTR is set to make his Hindi film debut with “War 2,” directed by Ayan Mukerji. This sequel to the 2019 blockbuster “War” will see him sharing screen space with Hrithik Roshan and Kiara Advani. The film is part of the YRF Spy Universe and is scheduled for release on August 14, 2025, coinciding with the Indian Independence Day weekend.
3. NTR 31 (Tentative Title: Dragon)
In collaboration with acclaimed director Prashanth Neel, Jr NTR will star in a period drama tentatively titled “Dragon.” The film is set to delve into themes of immigration and is expected to be one of the most expensive projects for both the actor and the director. The movie is slated for a grand release on January 9, 2026.
Why Jr NTR is the Action Hero Everyone Wants to See
Jr NTR’s appeal as an action hero stems from his ability to seamlessly blend intense physicality with deep emotional resonance. His performances are characterized by a compelling screen presence, dynamic energy, and a remarkable ability to connect with audiences across diverse roles. This unique combination of skills has solidified his status as a leading figure in Indian cinema, making him the action hero everyone wants to see.
With a lineup of diverse and high-profile projects, Jr NTR continues to push cinematic boundaries and captivate audiences worldwide. His dedication to his craft and ability to reinvent himself with each role ensure that fans have much to look forward to in the coming years.
Headed to a wilderness retreat of a wealthy pharmaceutical CEO to hopefully land a lucrative job, widower Elliot and his reluctant daughter Ridley manage to have a car accident with a heretofore-thought creature out of legend, and hijinks ensue!
Oh this is an absolute gem of a movie y’all, brought to you by the genius minds of film production company A24, a delightful blend of horror and campy, almost idiotic, comedy. Make sure your seatbelt is buckled and let’s dive into this!
So Ridley (Jenna Ortega) is you typical teenager, angsty and missing her passed-on mother, full of acne troubles and secretly vaping while her dad Elliot (Paul Rudd) ignores her for much more than appearance purposes, while he schmoozes his way into the good graces of the family they’re going to stay with. Elliot ignores everything but his continued greed, for both money and continuous stability for him and Ridley, really, he swears, so when the misty mountains cause their electronics to go haywire and Elliot’s busy with that crisis, he doesn’t notice until it’s too late and BAM. You’ve hit an actual unicorn with your car.
Like most girls, Ridley can’t help but be fascinated by the poor mythical horse-like creature, and of course she reaches out to grasp the glowing horn, filling her head full of magic and her eyes full of stars and the cosmos, while Elliot has a much more, let’s say visceral, reaction. But rather than calling, I dunno, some sort of wildlife preserve or the cops or even considering burying the unfortunate horned horse, no, the baby is loaded like a downed stag into the back of Elliott’s car and they hurry on to the CEO’s wilderness retreat.
It makes sense that the changes to Ridley’s appearance are the first thing that allows O’Dell (Richard E. Grant) and his greedy, grasping family to understand that the body of the unicorn has healing properties. Wife Belinda (Tea Leoni) is your typical utterly vapid socialite who helps the poor downtrodden of whatever’s currently popular third world country, not for the do-gooder part of it, but for the optics. And their son Shepard (Will Poulter) is a walking poster boy for the arrogant frat boy type who could never settle on just one thing to be or do, and so he tries them all – archery, photography, mixology, music and various forms of pharmaceuticals, all while sporting these terrible fashion choices in shorts and rambling proudly about his nonexistent accomplishments. Griff (Anthony Carrigan) is the family butler and general verbal punching bag, and let us not forget the unfortunate pair of doctoral research scientists who get called in to examine the unicorn, Dr. Song (Steve Park) and Dr. Bhatia (Sunita Mani).
So we have a family of covetous types who all want to divy the unicorn up and sell its various parts for as much wealth and power as they can get, plus the pair of scientists who are flabbergasted to find themselves dissecting an actual unicorn that, hey, guess what, isn’t actually dead for really-real yet. Elliott’s trying to procure his and Ridley’s slice of the action, though honestly, his lawyerly powers of persuasion seem to be rather lacking in this regard, while Ridley is off doing some actual research on medieval unicorns and what the ancient legends in tapestries had to say about them. You know how the modern genie, with his Arabian lamp and his three wishes with their horrifically ironic consequences, actually stems from the ancient legend of that old monster, the creature born from fire that wants nothing more than to destroy all human life on Earth, the Djinn? Our modern legends and beliefs about unicorns is kinda like that.
So everyone, even our scientists with their experiments and O’Dell supposedly being an experienced animal hunter, seems to have forgotten that a horse is a mammal and therefore, has parents. And while everyone is concerning themselves with what to use the babies’ various parts for, only Ridley seems to have realized, that the babies’ sire and dam are coming for it!
We all know horses are smart, and that humans and horses can form an almost mythical bond, but when a stallion or even a dam’s ire is raised, they can attack and defend just as well as any rampaging beast, and do present a very real and dire threat. And these particular horses, with their shaggy midnight-black coats and hooves the size of monster-truck hubcaps, their fangs and absolute righteous rage at their baby being stolen, not to mention both mom and dad’s inherently magical nature, and those utterly badass war-unicorn horns, are here to wreak utter destruction and death upon the humans that would dare to eat, drink and snort, their baby!
Full of utterly ridiculous fun with human greed and the scarcely-remembered wonder of those magical creatures you heard about as a child, cheer along with the Jurassic Park-like screech of our rampaging parents to save their baby, in Death of a Unicorn, in theaters now!
Empuraan (2025) Movie Review – A Thrilling, High-Octane Malayalam Sequel That Delivers Big
Upcoming NTR Junior projects
“Death of a Unicorn: A24’s Twisted Fairytale You Won’t Forget”
WonderCon 2025: A Faith Full Dickens Tale & The King of Kings Animated Movie
WonderCon 2025: Fade to Black Interviews
