Black Dog is a tragic drama that draws a quiet parallel between a man’s downfall and the slow collapse of his village. He was once a local star, but after serving time for a murder, he comes back a different person—distant, detached, almost like a ghost of who he used to be. The village, too isn’t what it once was. What might have been a lively place now feels empty, fading under the shadow of modernization. The film doesn’t push too hard; it just lets you sit with the sadness of what’s been lost—both in people and in places the world no longer re.

Quite a letdown after the strong first film in the trilogy. This had the potential to be a compelling drama exploring the intersection of the personal and political instead devolved into a mix of fan service and misguided messaging around violence/revenge. The depth and nuance were sacrificed for spectacle, leaving the narrative feeling shallow and inconsistent.

HIT 3 leans heavily on shocking violence and gore to the point where any effort put into the story feels minimal and exists mainly as a vehicle for the brutal scenes. The subservient narrative makes the rest of the movie feel like an afterthought that no one really wants. What’s even more disappointing is that the violence and gore themselves are, frankly, quite poorly done.

What’s worse than sitting through a poorly written, tone-deaf film? Watching Tom Hanks—an actor of his caliber—is wasted on a flat, one-dimensional character that hardly adds anything to the story. It’s not just disappointing, it’s infuriating.

Well, this hasn’t aged well—and to be honest, I didn’t like it the first time around either. It has so many talented people involved, yet somehow, not a single one thought to tone down the deafening background score. Then there’s the issue of the two subplots, which feel like two completely different films. Their convergence could have worked, but instead, it just reinforces how disconnected they are. And seriously, what’s with Aamir Khan’s constipated expression throughout the entire movie?

Nothing—absolutely nothing—prepares you for the horror that unfolds over these 135 minutes. I already knew Rubens Paiva would be taken in for interrogation, but that didn’t make it any easier. I was on edge the entire time, jittery and anxious, dreading the moment it would finally happen. And when it did, the brutality that followed hit me like a gut punch. It made me appreciate my own life in ways I never had before. And Fernanda Torres? She’s on a whole other level—miles ahead of every 2025 Best Actor (male & female combined) Oscar nominee. And that's not a hyperbole.

I’m honestly just angry at this film—the filmmaker, the crew, all of them. There’s a powerful, sensitive story here, one that really needed to be told. But the writing? It’s such a mess. It’s confused, it doesn’t seem to understand its own weight, or maybe it just waters everything down so much that it loses impact. A story like this deserves a better filmmaker, a better writer—someone who actually knows what to do with it. And wasting FaFa like this? That should be a crime. You have one of the best actors out there, and you don’t even use him right? Unforgivable.

This one didn’t leave much of an impression — the conflicts felt shallow, and the character arcs barely scratched the surface—honestly, a surprisingly underwhelming performance from FaFa, which was the last thing I expected. It’s not a bad film, but it never fully capitalizes on the depth of its subject.