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‘Beast’ Review: An Angry Lion, but More Bore Than Roar

In this action dud, Idris Elba plays a grieving father who takes his kids on a family trip to South Africa, where they meet one very big C.G.I. animal.

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By Manohla Dargis

Sometime soon, “Beast” will hit the great streaming graveyard. Say a prayer and move on. By that point, you will have heard that it’s a dud. And while you may be tempted to watch it anyway — it does star Idris Elba — hoping that it’s tasty enough to fire up a bowl, don’t do it. It has a few scattered laughs, some apparently intentional. But this is thin, unimaginative hack work, and it lacks the deranged seriousness and commitment that distinguishes a pleasurable misfire from bland dreck like this. It is, I am sorry to say, no “ Gods of Egypt .”

There’s a story, sure. Elba plays Nate, a doctor who takes his daughters, Norah and Meredith (Leah Jeffries and Iyana Halley), on one of those movieland journeys that turn into an extended, predictably dreary family therapy session. His estranged wife has recently died, and he and the girls are in mourning. So, they have flown to Mom’s home country, South Africa, where they stay with an old friend, Martin (Sharlto Copley). They’re there for restorative healing or something, though given all the dumb, dangerous choices Nate makes, it’s hard to think that his kids’ well-being is uppermost in his mind.

The movie is relatively short, as far as contemporary Hollywood action flicks go, and soon Nate and company are driving and then screaming and running through the scenery without cell service, being chased by a very big, very angry lion. The director Baltasar Kormakur keeps the camera moving and circling, but there’s nothing he can do to animate the story (the script is by Ryan Engle), particularly after the characters crash, becoming stranded in Martin’s truck. In between attacks and roars and screams, blood and feelings flow, and water runs low — the usual. Elba looks and sounds exceedingly bored, and you know how he feels.

One of the best things about contemporary digital wizardry is that wild animals no longer need to be subjected to human cruelty and nonsense in the name of cinema. There are real animals throughout “Beast,” but the lion that chases Nate et al. is obviously a computer creation. It has its reasons for attacking people, as our environmental catastrophe makes clear. Yet while the story repeatedly references poaching, it isn’t really interested in animals, and its truer interests are telegraphed by a character’s “Jurassic Park” T-shirt. I mean, it would be nice if animals were taking their revenge — this movie alone should enrage them.

Beast Rated R for gun violence. Running time: 1 hour 33 minutes. In theaters.

Manohla Dargis has been the co-chief film critic of The Times since 2004. She started writing about movies professionally in 1987 while earning her M.A. in cinema studies at New York University, and her work has been anthologized in several books. More about Manohla Dargis

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‘Beast’ Review: Idris Elba Shows a Berserk African Lion Who’s Boss

It's not as ambitious as 'Nope,' but this tense survival story — set amid an out-of-control safari — is a lot more fun than brainier summer blockbusters.

By Peter Debruge

Peter Debruge

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No animals were harmed in the making of “ Beast .” Frankly, it doesn’t look like any animals were even used in the making of “Beast,” but if you can get past the idea that the two-ton lion threatening Idris Elba and his family in the movie is a singularly frightening combination of ones and zeros, not killer instinct and claws, then “Beast” is a blast.

A white-knuckle “When Animals Attack!” movie in the tradition of “Jaws” and “Anaconda,” this big-budget, big-screen release features A-list actors — OK, actor , singular — and a director who knows what he’s doing: Icelandic ace Baltasar Kormákur, who cut his teeth on such nightmare-inducing man-against-nature films as “Everest” and “Adrift.” Here, the threat is a very big, very angry African cat, understandably agitated after a group of poachers slaughtered his pride, that has decided to kill every human that crosses his path. Seriously, the body count in this movie is off the charts.

Enter Elba, who plays single dad Nate Samuels, a tough but emotionally wounded man looking to reconnect with his two daughters, Mere (Iyana Halley) and Norah (Leah Jeffries), by bringing them to the African savanna where he met their mother. He imagines the trip as a bonding experience and perhaps a way to patch things up after a tough year. Screenwriter Ryan Engle’s otherwise lean, suspense-focused script spends a lot of energy on their backstory, fleshing out problems with the parents’ marriage, Mom’s death by cancer and how the girls are coping with that tragedy. Dad’s in the doghouse, but punching a killer lion in the kisser is a decent way to show how much he loves his girls.

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Not all lions are ferocious, Kormákur wants to make clear, including a scene where their host, Martin (South African actor Sharlto Copley, star of “District 9”), shows how the cuddly carnivores behave toward humans they trust. Martin raised an entire pride of lions on his property from cubs, and when he approaches their territory, instead of ripping him limb from limb, the two adult males rush out to greet him, putting their (CG) paws on his shoulders and licking his face. It’s like the VFX equivalent of the “Christian the Lion” viral videos you’ve probably seen online, except, because the cats aren’t real, the scene doesn’t feel as remarkable.

It’s definitely for the best that Kormákur didn’t insist on using actual lions. If you don’t know the true story of the film “Roar” and its wildly irresponsible production, give it a Google: Director Noel Marshall tried training his big-cat cast from birth, keeping lions and such around the house for years. When it came time to shoot, he endangered his own family, as wife (and “The Birds” star) Tippi Hedren and daughter Melanie Griffith were both mauled in the making of the film.

Here, Martin takes Nate and his daughters out for a mini-safari, not realizing there’s a rogue lion on the loose. The first couple of attacks happen off-camera, as Kormákur shows the victim’s face just before a loud Dolby snarl makes the megaplex walls vibrate. Cut to black. He saves the big reveal for Nate and his daughters, who’ve exposed themselves by stepping out of the (limited) safety of Martin’s reinforced SUV. Their behavior may be risky as hell, but half the fun of the movie comes from wanting to shout at these characters to get back in the bloody car.

The movie would be pretty boring if they just huddled up there waiting for help to arrive. Instead, Kormákur commits to the R rating, piling one threat on top of another. Turns out, Martin’s an “anti-poacher” (he shoots the guys who shoot the animals on his preserve), which makes things pretty tense when the poachers from the opening scene show up, armed to the teeth — like the guerrillas from Elba’s other African-beast movie, “Beasts of No Nation.” In theory, this would mean that Martin and the lion are on the same side, although there’s no reasoning with a carnivore that feels so threatened, it will proactively attack with no intention of eating its prey.

Don’t be surprised to find a decent segment of the audience rooting for the lion — not against the Samuels clan, but against the movie’s other, more villainous characters. If a human being had suffered the same indignity this lion does in the opening scene, having its entire family slaughtered by men with guns, we’d be cheering for him to get his revenge. But Kormákur never really adopts the animal’s POV, so we’re not invited to empathize with it so much as recognize that this atypical aggression has been provoked by the poachers.

That’s where he’s lucky to have Elba, who plainly insisted on playing someone with a complicated psychology, even if all the script required was a man tough enough to take the climactic mauling “Beast” has in store for Nate. Like the great Japanese actor Toshiro Mifune, Elba is an incredibly physical performer who instinctively comes up with little bits of business to reveal the personality of his character. The ending is ludicrous, and yet it works because of all that Elba has invested in making this protective papa convincing. That’s the beauty of “Beast”: The lion may look fake, but the stakes feel real.

Reviewed at Burbank 16, Los Angeles, Aug. 16, 2022. MPA Rating: R. Running time: 93 MIN.

• Production: A Universal Pictures release and presentation of a Will Packer Prods., RVK Studios production. Producers: Will Packer, Baltasar Kormákur, James Lopez. Executive producers: Bernard Bellew, Jaime Primak Sullivan.
• Crew: Director: Baltasar Kormákur. Screenplay: Ryan Engle; story: Jaime Primak Sullivan. Camera: Philippe Rousselot. Editor: Jay Rabinowitz. Editor: Steven Price.
• With: Idris Elba, Sharlto Copley, Iyana Halley, Leah Jeffries.

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Beast review – Idris Elba takes on a lion in a ferociously fun thriller

The star anchors a surprisingly effective South Africa-set B-movie about a family who find themselves stalked by a particularly gnarly lion

T he dog days of summer have been rougher than ever in Hollywood this year, a damp end to a brighter than expected season. Front-loaded scheduling and a weaker than usual crop of August releases led to last weekend’s box office total being the lowest since May . But it’s a month that has often provided simple genre pleasures, especially on the heels of such overpriced indulgence (previous Augusts have given us Searching, Don’t Breathe and You’re Next), and after last week’s brutally effective survival thriller Fall (which also tanked, natch), this Friday’s similarly taut Beast works as another refreshing post-tentpole balm.

It’s got a costlier price tag than Fall ($36m v just $3m) and tracking suggests it might struggle to be profitable but if audiences do venture back out to the multiplex to see it, they’ll probably be as entertained as I, a no-frills B-movie pitched just right after so many A-movie counterparts got it so wrong. Like 2019’s slick summer surprise Crawl , it’s another to-the-point R-rated creature feature, light on plot and heavy on thrills, and this time it’s a lion doing the stalking and Idris Elba doing the trying not to die. Despite Elba’s prolific nature, it’s still rare for him to take the lead (he’s usually within an ensemble or sharing top billing) and Beast awards him ample screen-time to show us why he deserves more of it. Like in the underrated 2017 adventure The Mountain Between Us , he’s hugely believable in hyper-competent, high-stakes survival mode and here, he’s forced to figure a way out of a nightmarish trap when a South African vacation goes horribly wrong.

He’s taking daughters Norah (Leah Sava Jeffries) and “Mer” (Iyana Halley) away to remember their late mother in her homeland, meeting up with an old friend, wildlife biologist Martin (Sharlto Copley). But after some mercifully brief exposition, things go even further south when the group comes into contact with a particularly aggrieved lion.

Beast isn’t going anywhere you can’t predict from the trailer or even a simple logline but it’s a straight line confidently drawn, directed with more flair that one often gets from such material. The Icelandic film-maker Baltasar Kormákur, no stranger to meat and potatoes action movies having made Contraband, 2 Guns and Adrift, is keen to do more than just point and shoot and together with the Oscar-winning cinematographer Philippe Rousselot (whose illustrious career includes films such as Dangerous Liaisons, Interview with the Vampire and Big Fish), they add surprising finesse to straightforward action sequences. There’s a string of intricate, if often cheated, “oners”, swirling tracking shots that take us in and around characters and locations in ways we don’t expect. It’s not exactly 1917 but it’s refreshing to see a piece of pulp such as this squeezed so carefully, involving us in the horror of it rather than leaving us at a distance.

At a tight 93 minutes, the pace barely has time to slacken and despite the familiar family soap setup, Ryan Engle’s efficiently spare and mostly grounded script doesn’t get bogged down by maudlin monologuing. It’s a machine and little more but Elba refuses to be just a cog within it, enthusiastically showing off his often underused movie star wattage, an actor who doesn’t need to rely on clumsy exposition to turn an action lead into a real person, the specificity of his never-not-on facial emotions doing that instead. Newcomers Halley and Jeffries are both impressive naturals and the script affords them more to do than just watch and scream, allowing them a central role in trying to figure out how to survive such chaos. And while the trailers suggested otherwise, the VFX lion is more convincing than so many other pricier effects I’ve seen lately helping to make those seat-edge standoffs just that little bit more suspenseful.

In the advertising for 2011’s Liam Neeson wilderness thriller The Grey, audiences were teased with the promise of the star fighting a wolf with his bare hands but the resulting film smartly denied us such goofiness, instead offering a stark and dour treatise on life and death. The final trailer for Beast reached similar virality after showing us the sight of Elba punching a lion (which in turn led to Slate asking zoologists: would that really work?) and while yes we do see it and yes it makes a bit more sense in a less serious-minded movie, it’s also a little too far, tainting an ending that feels anticlimactic and rushed. It’s a “moment” for sure and might be a rousing one for some, but it didn’t work for me, pushing the film into a realm of ultra-silliness that it had managed to avoid before that.

August might be a washout so far for the industry but Beast couldn’t be arriving at a more apt time, a thrilling, if throwaway, reminder of the fun to be had while watching a B-movie bringing its A-game.

Beast is out in US cinemas on 19 August and in the UK on 26 August

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The tone and style of the Indian anti-terrorist action flick “Beast” varies wildly throughout, sometimes even within the same scene. This takes some getting used to, especially in a “ Die Hard ”-style siege thriller that’s also sometimes a musical-comedy about a handsome bachelor spy who also loves children and excels at dismembering and/or murdering terrorists.

There’s nothing unusual about this Masala-style of Bollywood pop filmmaking, where filmmakers pander to the back row with a schizoid combination of Vaudevillian quips and pop culture references, overdetermined romantic interludes, and nationalistic saber-rattling. This sort of anti-terrorist movie also sits comfortably next to a couple of other COVID-delayed Indian productions, especially from Bollywood (Hindi language) like the blockbuster “Sooryavanshi” and the superhero thriller “Attack—Part 1.”

“Beast,” a Kollywood (Tamil) star vehicle for Vijay, still feels different, if only for how vigorously its creators try to sell their lead as a 21st century renaissance man. Vijay (“Master”) can dance a little, drive a car through various glass surfaces, and also behead a terrorist and then chuck that guy’s disembodied head out of a tall window. To say nothing of the scene where Vijay puts on a set of roller blades and literally skates circles around a group of mask-wearing extremists.

Vijay’s all-things-for-everyone self-image is celebrated throughout, as in the chorus of one anthemic song that hails the chipmunk-cheeked hero as “leaner, meaner, stronger.” A concluding number also describes Vijay as a “multifaced tiger with a multifaceted avatar.” At this point in the movie, Vijay’s flying himself back from Pakistan in a borrowed military jet plane, having just independently massacred a terrorist encampment.

In “Beast,” Vijay plays Veera, a superhumanly resourceful former member of India’s Research and Analysis Wing (RAW) intelligence agency. Veera retired from RAW eleven years before the movie’s present day: in an introductory flashback, Veera unintentionally blows up a little girl with a rocket launcher. Look, there’s no way to make this plot sound less crazed than it is, so let’s have a paragraph break.

Ok, so Veera’s now extra-sensitive about kids, which explains why he only springs back into action after he, now working for a failing security company, hears the cries of distressed children after the ISIS-style ISS terrorists take over Chennai’s East Coast Mall. These terrorists are ruthless, as we can tell by the way that one of them back-hands a lady and traumatizes a crying girl. (among other things) ISS’s terrorists are led by Saif (Ankur Ajit Vikal), who spends most of the movie wearing a Latex mask that weirdly resembles Anton LaVey, and his traitorous accomplice, the Indian government’s unnamed Home Minister (Shaji Chen), as we see in an early scene.

The cartoonishly ruthless nature of Saif’s guys is a given. Or maybe it’s just not emphasized as often as Veera’s equally brutal counter-measures. There’s also nothing apologetic or conflicted about the violence in the movie, which is effectively played for kicks in a handful of action-intensive set pieces. In an early scene, Veera also slices off one masked villain’s arm by the elbow joint. And he stabs two ISS terrorists to death in front of a captive audience of mall hostages. Between murders, Veera plays dead in order to fake out his second victim. “This is all normal,” he tells the hostages after he knifes the second guy in the head. The crowd seems to believe Veera since, in a later scene, a very nervous civilian (prolific Tamil comedian Yogi Babu , of course) is beaten up by ISS’ terrorists, but refuses to snitch on Veera.

Vijay is not as inspiring in “Beast” as he was as recently as last year’s “Master,” though neither movie is disappointing. “Beast” only feels relatively minor because it’s overstuffed with tangential showcases for comic side characters, like peevish negotiator Althaf (Hollywood director Selvaraghavan) or bumbling security company boss Dominic (VTV Ganesh). Some of these characters are barely in the movie, like Veera’s love interest Preethi ( Pooja Hegde ) and her persistent fiancé Ram (Sathish Krishnan).

In time, the movie’s routine narrative digressions also seem normal enough since, according to Yogi Babu’s sub-pot, it takes a village to support Chennai’s own John McClane. Luckily, Vijay makes up for lost time during the movie’s energetic action scenes, most of which are as polished and well-designed as they need to be. Vijay’s dancing hasn’t improved much, but he looks more comfortable making photo booth-worthy faces (mostly pouts and snarls) while firing a big gun in slow-motion.

The key to enjoying “Beast” is accepting its inelegant, inconsistent, and often insane terms and conditions. There’s so much of everything—and in such haphazard portions!—that the main thing holding this thing together often seems to be the movie’s centralized location and Vijay’s abundant and well-advertised swagger. He’s almost as good as he needs to be here, and it’s hard to stay mad at a movie where bloody violence and/or corny jokes frequently break out in a mall that advertises for Basics, Pantaloons, and the Fruit Shop on Greams Road. Watching the movie’s ensemble cast members valiantly struggle to make this ungainly action-comedy seem even sort of normal is usually more engaging than the movie’s big action scenes, too. By the time Vijay breaks out his in-line skates, everything that doesn’t quite work about “Beast” only enhances the movie’s genuinely endearing too-much-ness.

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Simon Abrams

Simon Abrams is a native New Yorker and freelance film critic whose work has been featured in  The New York Times ,  Vanity Fair ,  The Village Voice,  and elsewhere.

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Film Credits

Beast (2022)

Thalapathy Vijay as Veeraraghavan

Pooja Hegde

• Nelson Dilipkumar

Cinematographer

• Manoj Paramahamsa
• Anirudh Ravichander

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‘beast’ review: idris elba tangles with the king of the jungle in tense but silly survival thriller.

Sharlto Copley also stars in Baltasar Kormákur's nightmare safari in which a desperate father is driven to protect his daughters from a vengeful lion.

By David Rooney

David Rooney

Chief Film Critic

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Brian tyree henry joins universal musical from michel gondry, pharrell williams, ke huy quan's 'with love' movie adds marshawn lynch, mustafa shakir, cam gigandet, andré eriksen, lio tipton.

Beast wants to have it both ways. Ryan Engle’s script, from a story by Jaime Primak Sullivan, loads up on gore and distressingly close calls amped up with effective jump scares. But it’s not content to give us dumb hair-raising fun; it also aims to move us with the tender feelings and frictions of a family ruptured by tragedy. What’s more, it asks us to accept a citified guy who appears never before to have handled a rifle instantly becoming Indiana Jones.

It’s a testament to the charisma and natural gravitas of Elba that we even halfway buy Dr. Nate Samuels as he dodges the massive rogue male lion, at one point simultaneously stopping a deadly boomslang snake mid-strike. When he’s wading around in crocodile-infested waters, I kept expecting him to punch one of those leathery mothers in the mouth, Lara Croft-style.

A tense prologue shows poachers under the cloak of night wrapping up a successful hunt, during which they have killed a pride of lions, whose teeth, claws and bones fetch big money on the black market. Only the patriarch of the pride eludes them, its paw prints indicating its mighty size. A handful of men stay behind to kill the creature before it comes after them. But its stealth in the tall grass proves too much for them.

Kormákur follows the old rule of holding off on showing the monster, seen only in the briefest flash as it leaps out of the darkness onto an unfortunate poacher.

Recently widowed Dr. Nate arrives with his 18-year-old daughter Mere (Iyana Halley) and her 13-year-old sister Norah (Leah Jeffries) at a remote location deep in the South African bushland, met there by family friend Martin ( Sharlto Copley ), a wildlife expert who manages the nature reserve.

Nate first met his wife there through Martin, and the trip to some degree has been planned to bridge the distance that’s opened up between him and Mere since her mother’s death. The couple had mutually agreed to separate, and Mere blames her dad for not being there as her mother’s health declined. In routine fashion, Nate also beats himself up for not being a sharp enough doctor to spot the cancer and stop it in its tracks.

But when Martin spots what appears to be a bullet wound in the paw of one of the females, he insists they stop by a local village to investigate. The fresh carnage they find there is alarming evidence of a lion behaving abnormally, entering a populated settlement and indiscriminately killing without eating its prey. A mountain in their path blocks the jeep’s radio signal, leaving the group with minimal protection when the grieving lion charges at them.

Unlike, say, Disney’s unnecessary live-action remake of The Lion King , which just seemed like another form of animation, minus the heart, the CG lion here is a fearsome, photo-realistic creature. The relentlessness with which it pounds the jeep, crashing through windows and swiping at the trembling family inside, makes for some pulse-pounding sequences.

Halley and Jeffries are terrific as young women suddenly given something more legitimate to complain about than the lack of WiFi or cell reception. And the script gives them just enough courage and resourcefulness to have a hand in the family’s survival, without veering into ridiculousness. That’s not always the case with Nate, who is forced to take charge when Martin is immobilized by a severe mauling. Suspension of disbelief is required more than once, notably when the lion is only inches away from Nate but appears to have no sense of smell. Maybe its nose got damaged while pulverizing the jeep’s windscreen?

As man vs. beast stories go, this one is neither the best nor the worst. Steven Price’s score keeps the tension high, and Elba and Copley are good enough actors to deliver even the most pedestrian dialogue with conviction. It also helps that the movie runs a tight 90 minutes. Beast is no Jaws , but it’s no Jaws: The Revenge , either.

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• DVD & Streaming
• Action/Adventure , Drama , Thriller

Content Caution

In Theaters

• August 19, 2022
• Idris Elba as Dr. Nate Samuels; Sharlto Copley as Martin Battles; Iyana Halley as Meredith Samuels; Leah Jeffries as Norah Samuels

Home Release Date

• September 8, 2022
• Baltasar Kormákur

Distributor

• Universal Pictures

Movie Review

Nate wants to reconnect with his two daughters, and he’s got a great idea on how to do it. He’s going to take them to South Africa to see the village in which his recently deceased ex-wife (and his daughters’ mother) had lived before moving with him to America. It’ll bring comfort, closure and offer some familial bonding, he hopes.

So Nate reaches out to Martin, his friend who lives in the area and who had originally introduced him to his wife. Martin works as a sort of enforcer on the safari, helping villages thrive alongside the animal wildlife. And as part of his hospitality to Nate’s family, Martin’s offered to take them out to see the wildlife and experience some other nearby villages.

But when the group reaches one of the villages, they find everyone there has been ferociously mauled to death by a rogue lion—one that’s still roaming about nearby. But what’s even more disturbing is that the lion isn’t killing humans for food—it’s almost as if it’s hunting humans out of sheer vengeance.

Soon, the group’s car is totaled. Nate and his group are miles from the nearest village—and only moments away from the mouth of a very angry apex predator.

Positive Elements

One of Nate’s daughters, Meredith, points out that her dad has never shown much interest in the things she and her sister care about. Meredith also holds a grudge against Nate because he promised his ex-wife that she’d survive and that he’d be there with her. Nate didn’t make good on either promise, especially as his wife become more and more sick. Meredith is initially pretty hard on her dad; but her alienation from him sets up the redemptive story of reconciliation between them that eventually follows.

Nate, for his part, blames himself just as sternly as Meredith does—if not more so. He laments to Martin that he failed in his role of protecting and comforting his family during that tragic time, saying that he was supposed to confront death at the door and tell it that it couldn’t have her.

“I wasn’t there, man,” he says. “I wasn’t there.”

So when the lion begins threating to kill him and his daughters, Nate does everything he can to make sure his daughters escape, even if it means putting himself in harm’s way. Nate’s friend Martin acts similarly.

Spiritual Elements

A house has a Christian cross engraved into it. An injured man calls the lion a “devil.” Someone says that a knife needs to be “as hot as Hades” in order to cauterize a wound. Another man tells Nate that a fight with a lion is “not a fight he is designed to win.” Two characters talk about death as if it is a sentient being.

Nate has a couple of vaguely spiritual dream sequences.

Sexual Content

Violent content.

The plot revolves around a raging lion that wants to kill any humans it sees. As such, viewers should expect to see lots of violence as people are mauled to death. These scenes of the lion attacking can be brutally intense and definitely warrant the film’s R rating.

Nate often discovers the grisly aftermath of the lion’s violent work. A hut is full of bloodied and flea-covered corpses, for instances. A woman is found dead from a severe bite to her throat. A man succumbs to his wounds in Nate’s arms, his shirt soaked in blood. Other people are similarly found dead—and occasionally, we can see some of their internal organs. A man has his throat clawed out.

The lion wounds Nate and other characters, and we watch them deal with their bloody scratches. One character cauterizes a nasty wound on his thigh with a heated knife, while other victims yell in pain from having alcohol poured onto their wounds. Nate works to close someone’s leg wound, and we see the full extent of the damage.

A car crashes. Someone is said to have killed people. A man burns to death offscreen. People shoot and stab at the lion as it attacks them, and a couple of them land their strikes.

Poachers shoot and kill a pride of lions. A zebra carcass is torn open. A lioness has a blood-covered leg as a result of a poacher’s bullet. Another dead beast is seen with its throat bitten open. Nate throws a snake onto the attacking lion.

There are many jump scares in the film as the lion often appears out of nowhere. A tree is covered in the bones of various animals which someone has tied. Other animal skins hanging in a poacher’s lodge drip blood.

Crude or Profane Language

The s-word is used six times, and “h—” is heard four times. We also hear instances of “a–,” “b–ch,” “d–n” and “b–tard.” God’s name is misused about 10 times. It’s paired with “dang” once. Jesus’ name is misused three times.

Drug and Alcohol Content

Nate and Martin drink alcohol, and the two of them complain about headaches the next morning. Alcohol is used to disinfect wounds.

Other Negative Elements

Poachers reportedly sell the teeth, claws and bones of lions on the black market.

Sometimes, we watch movies because they have great plots. Other times, we watch them because they have cool action scenes; whatever semblance of plot there is works more as filler just to get you to the next cool action scene.

Beast lands in the latter category.

Sure, we have a backstory in which Nate wants to repair his fractured relationship with his daughters by showing them where their deceased mother grew up. But that’s about a sixth of this film’s hour and a half runtime. The film’s true plot would be more accurately described this way: “ Lion wants to kill man and his family; man and his family don’t want to be killed . ”

And there’s a reason why this king of the jungle has his crown and why this movie has its R-rating: They’re both really good at killing. The movie’s many mauled human corpses make that truth abundantly clear. With so much blood staining the sweltering safari, you’ll start to wonder whether that cherry ICEE you bought at the concessions was a good idea after all.

There’s really not much else to say about the movie. After all, there’s only so far a lion attack-based plot can go. And there’s only so much to write about lion attacks.

Kennedy Unthank

Kennedy Unthank studied journalism at the University of Missouri. He knew he wanted to write for a living when he won a contest for “best fantasy story” while in the 4th grade. What he didn’t know at the time, however, was that he was the only person to submit a story. Regardless, the seed was planted. Kennedy collects and plays board games in his free time, and he loves to talk about biblical apologetics. He thinks the ending of Lost “wasn’t that bad.”

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Beast (2022): Movie Review & Ending Explained

Beast (2022) review:.

The premise of Beast (2022) is simple and contrived: Idris Elba engages in fisticuffs with a murderous lion. Thankfully, that’s all the movie ever sets out to be. In a subgenre that’s been pitting man against nature for a lot longer than it has needed to, it’ll surely fade into the background by the time the year’s up. Nevertheless, it’s quite a relief to see a film that doesn’t unnecessarily add more than what its advertisements promise. That it has the confidence of a far better movie is reason alone to forgive its lack of purpose and the predictability it wears on its sleeve.

Here’s a film that at least has the competence to keep its premise grounded in realism, and one that views its sacrifice of character development as a necessary risk if it means giving an audience what they want to see. We know very little about Dr. Nate Samuels (Elba) and his two daughters, Meredith (Iyana Halley) and Norah (Leah Sava Jeffries), other than that they’ve recently suffered the loss of their mother and are traveling to South Africa to visit the village where she grew up. However, who wouldn’t be able to relate to the sense of helplessness and panic if a safari went extremely awry? With a hungry lion on one side and a team of equally thirsty poachers on the other, there’s little that occurs in Beast that viewers won’t see coming, and with only 93 minutes to spare, it spends next to none of them worrying about the real ecological concerns surrounding the Samuels as they fight for their lives. It’s perhaps the film’s biggest boon, then, that it makes that struggle for survival just thrilling enough.

Then again, it’s not as if Beast is meant to be a parable about interfering with nature or domestic fallout in the wake of death. Even if it were, Idris Elba would likely have given as tremendous of a performance as he does here. Alongside the equally undervalued Sharlto Copley as the Samuels’ friend and safari guide Martin, Elba effectively balances his resourcefulness and quick-witted intelligence as a wildlife biologist with the regret he feels over walking out on his wife as she succumbed to cancer. Having a family who isn’t quite ready to forgive him in tow is enough to humanize Samuels and make his eventual conflict with the lion that much more exciting. Elba isn’t bringing the same kind of superhuman presence he’s brought to his previous roles in the The Suicide Squad (2021), Fast & Furious Presents: Hobbs & Shaw (2019), or the Marvel Cinematic Universe. Instead, he’s playing one of the most tangible characters he’s played on the big screen in years, often the most doubtful of his own abilities but determined to hold his ground nonetheless.

Of course, Elba and director Baltasar Kormákur have help from a committed production crew who are just as willing to take the premise seriously enough to ensure that the film doesn’t unintentionally devolve into lurid B-movie sensationalism akin to 1981’s Roar, an infamous production nightmare due to its use of real wild animals which injured dozens of cast and crew members. If it’s not all that it needs to do something unexpected with its premise, Beast still has the kind of intention that is rarely seen in films like it. Kormákur’s previous work on the true-to-life Everest (2015) and Adrift (2018) suit him for his position, ably conveying a sense of realness even in a setting where the setup isn’t exactly commonplace to real life. The work of cinematographer Philippe Rousselot is an additional surprise in this regard. Rather than leaving them with a bird’s eye view, the Oscar-winner finds a way to place the viewer in the middle of the nightmare with some impressively conceived long takes, adding a welcome bit of grace and nuance to the Samuels’ frightening, often claustrophobic experience.

Sadly, the presentation of the lion itself invites an equal share of commendation and derision; the visual rendering is easy to impress as its coloring blends in with the brightness of the day, but less so as its artificiality sticks out in the pitch black of night. What’s worse is that Beast ultimately lets its voracious antagonist down with an anticlimactic finish that brings a great deal of momentum to a halt. It’s more than perplexing, especially considering the film honors its promise of pitting two able-bodied foes against one another in a fight to protect their territory, only to then uncharacteristically fizzle out. But Beast is a film largely concerned with the trail of terror a lion can leave in its tracks, and, though ultimately forgettable even at its best, its a modest success with the decency to realize what it is.

Beast (2022) Plot Summary & Movie Synopsis:

Why is the lion attacking people.

Beast (2022) opens on the plains of South Africa, where a group of poachers are descending upon the land. Coming across a pride of lions, the poachers manage to shoot all of them except the leader. The male lion takes shelter amongst the tall grass while a handful of poachers load the others into a truck to be skinned. A few poachers stay behind to set a trap for the head lion, but fail to realize that it is close by and has trapped them instead. One of the men emerges from the grass with multiple gashes across his face and neck, and it is not long before the lion emerges and kills the rest of the poachers.

Why are the Samuels in South Africa?

Dr. Nate Samuels (Elba) arrives in South Africa from New York City not long after the opening attack with his two daughters, Meredith (Halley) and Norah (Jeffries). The girls are still mourning the loss of their mother, Amahle, to cancer, and are resentful of Nate for devoting more time to his work than to her during her last days. As Nate struggles to re-establish an emotional connection to his daughters, the Samuels are met by their friend and Nate’s former schoolmate, Martin Battles (Copley), who has agreed to chaperone their trip to the village where Amahle grew up, having grown up in the village himself and been good friends with Amahle all her life. Meredith later voices her anger to Nate over dinner, condemning him for his lack of interest in his family since Amahle’s death. Nate confides in Martin later that night, asking him why he never came to the funeral, to which Martin responds by admitting he didn’t like the idea of Amahle being buried in an average American cemetery when she deserved to be buried near the village in South Africa.

The next morning, Martin and fellow wildlife preservationist Banji lead the Samuels on a safari of the surrounding plains, where they come across a pride of lions that Martin and Banji have raised since they were cubs. The pride greets Martin joyously like pets, and it’s here that Banji explains to the Samuels the role each lion plays in a pride: the female lions do the hunting while the males are tasked with protecting the pride from any forces that invade their territory. Martin notices a bullet wound in the paw of one of the hunter lions, and when he approaches her, she acts aggressively. He is nudged away by one of the males and the group departs the scene shortly thereafter.

How Does the Lion Find the Samuels?

As Banji leaves to inform the rest of the preservationists about poachers in the area, Martin and the Samuels press on to Amahle’s village, which they discover is quiet and empty. After a brief search for the residents, Martin and Nate discover the decomposing corpses of several villagers who have all been slain by the lone, vengeful lion. Evacuating the village, their drive is interrupted by a wounded man named Mutende who appears to have been attacked, as well. Mutended dies despite Nate’s best efforts to save him while Martin goes off on his own to hunt the lion down. Martin finds the lion and takes a shot at it with his rifle. When Nate goes to look for Martin, he notices the lion heading toward him and races to the group’s car, making it back just before the lion can get to him. As the lion chases the Samuels’ car, Nate’s erratic driving and lack of knowledge of the area cause him to crash the car near the edge of a cliff, where it stalls out.

The Samuels manage to make contact with Martin, whose leg has been mauled by the lion, via walkie-talkie. Nate instructs Martin on how to stop the bleeding while formulating a plan on how to save him. Finding a tranquilizer gun in the car, Nate assembles it while Meredith gets an idea of Martin’s location before getting out of the truck to find him. When the lion re-emerges, Meredith makes her way to Martin as Norah and Nate manage to overpower the lion by shooting it with a dart. Meredith and Martin find their way back to the truck, where Nate operates on Martin and manages to slow his bleeding.

Do the Poachers Help the Samuels?

The group find themselves trapped in the car overnight as the tranquilizer’s effects wear off faster than they anticipated, allowing the lion to continue blocking their path to escape. With their water supply dwindling, Nate suffers from nightmares in which his daughters are killed by the lion. After waking up, he apologizes to Meredith for not being there when they needed him and reaffirms the love he had for their mother. Shortly thereafter, they pick up a signal through the car’s radio and provide their location.

The group is discovered by poachers who are scouting the area in search of the lion. Nate manages to negotiate with the leader for safe passage out of the area, but he soon reneges on the deal after discovering Martin is with them. The poachers leave the Samuels behind as they learn Martin is a known anti-poacher who has killed several men to protect the South African wildlife. The lion attacks again, killing all of the poachers and giving the Samuels the opportunity to make a break for the poachers’ van. Martin gets Meredith and Norah out of harm’s way as the lion attempts to attack their car, sending the car over the edge with Martin and the lion inside. As the Samuels escape in the poachers’ van, Martin sees the car’s leaking gas and ignites it, killing himself and burning the lion.

Beast (2022) Ending, Explained: How Do The Samuels Escape The Lion?

The Samuels drive toward their camp, but Nate stops the car at an abandoned building to find medical supplies for Meredith, who was injured by the lion during their escape. Nate tends to Meredith’s injuries before the burnt lion arrives at the building. Nate instructs the girls to hide as he distracts the lion and lures it out into the open. He draws the lion into the territory of Martin’s lions, fighting it one-on-one with a knife as it bites and scratches him several times. Just as the lion is about to finish Nate off, the male lions from the nearby pride attack the lone lion and fight it off themselves. The lone lion is killed by Martin’s pride as Nate passes out from his injuries.

Nate regains consciousness in a hospital sometime later, where he is greeted by Meredith and Norah, who inform him that Banji rescued them and brought them to safety. They thank him for saving their lives and commend him for knowing that Martin’s pride would attack the lion to protect their own. After Nate begins to recover, the Samuels continue on with their vacation by visiting a tree that their mother loved in her youth.

Read More: Here’s Where to Watch and Stream Idris Elba’s New Movie ‘Beast’ Online

Beast (2022) trailer.

Beast (2022) Movie Links: IMDb , Wikipedia Beast (2022) Movie Cast: Idris Elba, Kazi Khuboni, Sharlto Copley

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Movie Review – Beast (2022)

September 26, 2022 by Robert Kojder

Beast , 2022

Directed by Baltasar Kormákur Starring Idris Elba, Sharlto Copley, Iyana Halley, and Leah Jeffries

A father and his two teenage daughters find themselves hunted by a massive rogue lion intent on proving that the Savanna has but one apex predator.

Centering on a family fending for their lives against a rogue lion irritated and turned aggressive by poachers hunting its pride, anyone that has ever seen a movie before realizes that the protagonists of Beast are probably going to make it out okay.

Despite that, director Baltasar Kormákur (a somewhat underappreciated filmmaker that has dabbled in survival pictures before with the more ambitious Everest in comparison to this streamlined and scaled-back thriller and Icelandic gems such as The Oath ) conveys an exhilarating sense of danger through visceral brutality (taking advantage of the R rating to portray disgustingly gnarly wounds) and relentless attacks (typically starting from crafty camera angles that build terror through the speed at which the lion rampages across the South African Savanna to take a bite out of his victims). Convincing CGI (especially when shrouded in darkness) helps.

The point is that anytime a film can make viewers forget that they are watching something scripted (in this case, the writer is Ryan Engle, basing his work on a story from Jaime Primak Sullivan), most likely in favor of the protagonists, buying into the peril, a filmmaker has done their job correctly. Formulas and clichés are not inherently bad so long as the execution is charged and eventful to the degree that the characters and stakes feel authentic and meaningful.

Here, Idris Elba is Dr. Nate Samuels, a widowed family man looking to reconnect with his two daughters, Meredith and Norah (Iyana Halley and Leah Jeffries, respectively), traveling to the village mom was from. She died of cancer, and the teenage Meredith harbors resentment toward dad for being emotionally cold and sucked into his job during this stressful time, saving other lives. In Nate’s words, he thought he had more time. Still distant, Meredith voices frustrations that he hardly takes notice of her interest in photography.

The family meets Nate’s longtime friend Martin (Sharlto Copley playing a normal human being for the first time in what feels like forever, also given one of the most exciting sequences in the movie), who looks after the Savanna and is rumored, according to Norah, to be an anti-poacher (someone that kills them). Both girls are immediately more interested in Martin, with Meredith’s photography hobby acknowledged more than her father has ever done so in a few minutes. Of course, Meredith and Norah groan at the lack of Wi-Fi, but a trip to see some friendly lions out in the wild church them up, as does learning about how Martin introduced mom to dad. 

The above may sound like a lot of plot and characterization for a movie about a family struggling to survive against the circle of life, but the pacing is on point without any fat. Sure, it’s hardly original, but it explains why the family is there and presents them as likable (the small ensemble is fine with Idris Elba a highlight as a sincerely regretful man that is determined and resourceful when it comes to stranded survivalist, also warm and jokey with his children), an essential factor that so many survival movies seem to forget. There’s also a brief prologue depicting why there is a rogue lion and condemning poachers, all while demonstrating how ruthlessly violent the titular beast is without its pride.

Beast is a tense watch from the rogue lion’s savage behaviour alone, but there is also plenty of impressive craftsmanship here. Primarily, the characters hide inside the Safari Jeep, hoping and praying the lion doesn’t find them and smashing through the windows, providing appropriately claustrophobic cinematography from Philippe Rousselot. However, scenes where characters wander off and explore are often done as tracking shots, with the camera typically snapped to Idris Elba in the vein of a third-person adventure video game.

By taking this crowded photography right to the characters in the wild, there is palpable dread from trying to pinpoint the direction of the lion’s inevitable attack. Furthermore, the photography also makes use of wide-angle shots with the lion tucked off into a corner on a cliff somewhere, which is already a beautiful shot but transitions into something else suspenseful entirely as the king of the jungle makes a beeline for Nate (who is running towards the camera trying to escape).

Unsurprisingly, the poachers make a second appearance in Beast , but the script wisely doesn’t get too preachy about the obvious. Aside from one or two moments where Meredith continues to verbally attack her father over his behavior when mom was sick, even when the lion could pounce at any second, the family drama is refined to only the crucial beats. This allows Baltasar Kormákur to focus on the peril and clever survivalism scenarios (everything from uniquely administered tranquilizer darts to tree climbing comes into play), conveniently with a doctor on hand to bandage up some nasty injuries that pleasantly double as gruesomely fun imagery.

There are moments to praise both man and beast, effectively showing the balance in characterization and thrills, overcoming the familiarity of the experience. Idris Elba also enters beast mode and punches a lion in the face, which is worth the price of admission itself.

Flickering Myth Rating  – Film: ★ ★ ★  / Movie: ★ ★ ★

Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check  here  for new reviews, follow my  Twitter  or  Letterboxd , or email me at [email protected]

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Summary Dr. Nate Daniels (Idris Elba), a recently widowed husband, returns to South Africa, where he first met his wife, on a long-planned trip with their daughters to a game reserve managed by Martin Battles (Sharlto Copley), an old family friend and wildlife biologist. But what begins as a journey of healing jolts into a fearsome fight for sur ... Read More

Written By : Jaime Primak Sullivan, Ryan Engle

Where to Watch

Liyabuya gongo, martin munro, daniel hadebe, thapelo sebogodi, chris langa, mduduzi mavimbela, poacher mizozi, chris gxalaba.

Dr. Nate Samuels

Kazi khuboni, leah jeffries, norah samuels, iyana halley, meredith samuels, sharlto copley, martin battles, tafara nyatsanza, ronald mkwanazi, naledi mogadime, thabo rametsi, critic reviews.

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‘Beast’ is a dumb but genuinely pulse-pounding creature feature

Idris elba elevates the tale of a man facing down a marauding lion.

The marauding-animal thriller is a horror staple, reliably cropping up in late summer, as evidenced by “Piranha” (Aug. 3, 1978), “Cujo” (Aug. 12, 1983), “Arachnophobia” (July 18, 1990), “Burning Bright” (Aug. 17, 2010), “The Meg” (Aug. 10, 2018) and a host of other fauna-centric titles before, since and in between, representing a virtual Noah’s ark of scare-inducing species. In that lineage falls “Beast,” the latest entry in the dog days canon of cautionary tales pitting man vs. Mother Nature’s less well-behaved progeny. If the film is elevated by the great Idris Elba — playing an American widower on safari in South Africa with his two daughters who must face down a rogue lion bent on, for lack of a better word, revenge — it nevertheless falls squarely in the camp of formula.

Meaning that “Beast” obeys certain rules, and does so effectively yet predictably, under the stewardship of director Baltasar Kormakur, a filmmaker who, since making his name in Iceland, has staked out a patch of the Hollywood turf reserved for such mindless if visceral thrillers as “ Adrift ” and “ Everest .”

“Beast” is a legitimately scary movie, opening with a prologue in which we watch a group of poachers massacre several lions, then get massacred themselves, one by one, by the film’s titular critter: a convincing CGI cat that then goes on a human-killing rampage, not eating his prey — random villagers, surviving poachers, etc. — as an ordinary lion might, but in a sense stalking and killing them out of some anthropomorphic sense of justice. Into that unlikely scenario wanders Elba’s Nate and daughters Meredith and Norah (Iyana Halley and Leah Jeffries), who are on a mission of reconciliation after their African-born mother has died while estranged from Nate, leaving the film’s hero with some healing to do.

It’s not just reconciliation he seeks, but redemption for being absent from his family during their time of need. And as everyone knows, redemption, at least in Hollywood, requires sacrifice. All this falls into place, like a morality play, against a scenic backdrop, with solid performances rendered by the aforementioned actors and Sharlto Copley, who plays an old friend of the family and their tour guide to the wildlife preserve in which the action takes place.

And action-packed it is, even if much of the story unspools inside a disabled Land Rover containing the main characters, with said lion on the warpath outside and not much in the human arsenal except a tranquilizer gun, a few bottles of water, handheld radios, a medical kit and their wits.

The jump scares are genuinely jumpy, but the film plays out more like a theme park ride than a family drama with teeth. It’s pulse-pounding, in other words, from a cardiac perspective, but not especially engaging as a narrative, despite the earnest efforts of the cast to breathe life into a personal story arc that feels pasted onto another one: one that is, in essence, the tale of a dumb but deeply disagreeable beast.

R. At area theaters. Contains violence, bloody images and some coarse language. 93 minutes.

‘Beast’ movie review: Idris Elba faces a rogue African lion in safari thriller

• August 9, 2022
• ★★★ , Movie Reviews

A widowed father comes to terms with the death of his wife while trying to protect his two young daughters from a bloodthirsty lion in Beast , an especially lean and efficient thriller opening in Prague cinemas this weekend ahead of an August 19 release in the states.

Bolstered by an emphatic lead performance by Idris Elba , focused direction by Baltasar Kormákur , and a great feel for the setting on the plains of the African savanna, Beast is an especially solid natural horror flick and one of the best to focus on the kings of the jungle alongside 1996’s The Ghost and the Darkness .

While the thrills are plenty, however, a disarmingly straightforward script results in few surprises, and Beast also has the unfortunate distinction of opening on the heels of the similarly-themed and superior Prey .

Elba stars as Nate Samuels, a New York doctor who flies with his teenage daughters Meredith ( Iyana Halley ) and Norah ( Leah Jeffries ) to the rural African hometown of their mother in the wake of her death. Nate and his wife had been separated at the time of her passing, and the trip is intended as a form of catharsis for the family.

In the savanna, they have the perfect guide for a safari: Martin Battles ( Sharlto Copely ), a childhood friend of Nate’s wife and current park ranger who protects the area’s pride of lions from the threat of poachers.

But the family trip quickly turns into a nightmare when they discover a small village has been mauled to death, and on their way out they meet the culprit: a pissed-off male lion whose pride has been wiped out by poachers, and is now seeking revenge.

That’s bad news for Nate and his daughters, who find themselves trapped in a disabled jeep with limited supplies and no way of reaching the outside world as the lion prowls the nearby plains around them.

The lions seen throughout Beast are created using some surprisingly convincing computer effects, which are well-integrated into the action. A climactic fight between Elba and the lion rivals Leonardo DiCaprio ’s mauling at the hands of a bear in The Revenant for gruesome animal action, though this one turns out a little different.

Beast is a straightforward, no-nonsense thriller on the level of something like Alexandre Aja ’s gator-based Crawl , and it delivers as well as expected on those terms. Copley’s character adds a bit of grit and realism, and even some educational background, but Beast is far less ambitious than something like The Ghost and the Darkness .

One also wishes that the screenplay, by Ryan Engle ( Rampage ) from a Jaime Primak Sullivan story, might have also offered up a surprise or two. Beast is so lean that we know where it’s going by the end of the first act, with throwaway lines popping up as a plot devices by the climax.

But while Beast might have been conceived as a modest B-movie, committed work by those involved in the production elevates it to something a little more. Elba gives a surprisingly invested performance as the grieving father – he’s not slumming it here – and Copely is (as always) a standout in support.

Icelandic director Kormákur ( Everest , 2 Guns ) tackles Beast with the same steady hand he’s brought to films of larger scope, and the result is a pulse-pounding little thriller that keeps us on the lookout for its man-eating predator for much of the running time.

• 2022 , Baltasar Kormákur , Beast , Billy Gallagher , Damon Burtley , Dorian Hedgewood , Hudson Anne-Black , Idris Elba , Iyana Halley , Jaime Primak Sullivan , Kate Grisley , Leah Jeffries , Mel Jarnson , Robby MacIsaac , Ryan Engle , Sharlto Copley , Travis Lemrick

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Underrated movie. This was 2023’s Crawl, with some genuinely suspenseful Lion scenes, if some silliness with the girls. But otherwise top animal horror, B+

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A jaded former intelligence agent is pulled back into action when an attack at a mall creates a tense hostage situation. A jaded former intelligence agent is pulled back into action when an attack at a mall creates a tense hostage situation. A jaded former intelligence agent is pulled back into action when an attack at a mall creates a tense hostage situation.

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• Trivia The movie is banned in Qatar and Kuwait due to the story involving around extremists group like Al Qaeda and ISIS

Veeraraghavan : I've Worked On The Operation For The Past 3 Months And Set It All Up, I Can't Call Off The Operation All Of A Sudden, I Want To Try My Best, Don't Stop Anything At Your End And Just Stick On To The Operation, I'll Call You In 30 Minutes, And Hey! The Plan... Is... On.

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• Apr 13, 2022
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• Runtime 2 hours 35 minutes
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• 1.90 : 1 (original ratio)

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‘beast’ review: idris elba’s creature movie makes you miss ‘anaconda’.

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In the new movie “Beast,” a demonic lion gets a layered backstory like he’s Liam Neeson in “Taken.”

Why is Scary Simba killing African villagers for sport, and determinedly hunting Nate ( Idris Elba ) and his two young daughters (Leah Sava Jeffries and Iyana Halley)? Evil poachers offed the big cat’s pride, he snapped and went rogue.

Running time: 93 minutes. Rated <br>Rated R (violent content, bloody images and some language.) In theaters.

I don’t recall ever feeling bad for the deadly creatures in “Jaws” or “Anaconda” or “Lake Placid.” But my heart went out to this poor, murderous, widower lion hellbent on avenging the death of cute cubs and lionesses.

Yet, this is a film along the lines of the above trio (in an early scene one of Nate’s daughters even wears a “Jurassic Park” T-shirt) where we need to want man (the good ones, anyway) to win. We never poured one out for the shark. No tears were shed for raptors! These stories are campy, not emotionally complex, and this one makes you feel crummy in the end. 

Nate brings his daughters to the faraway savanna after his ex-wife dies. The couple spent happy years there — he as a doctor and his wife as a wildlife photographer — and he thinks it would be good for the kids to connect with the place. What a great idea that turned out to be.

On the first day there, they go on safari with Nate’s old friend Martin (Sharlto Copley) and the group stumbles upon a savaged, corpse-strewn village and finds themselves face to face with Kitty Cat Cujo.

Their car, naturally, crashes into a tree and the rest of the film is them venturing outside of it (idiotically), returning in terror and trying and failing to avoid the creature.

There are some decent scares of the jump variety, and Elba gives a subtle performance given the circumstances. To give his character more oomph, the writers put him at an emotional distance from his daughters because they believe he abandoned their sick mom. A great way for a dad to reclaim his children’s love is by protecting them from a ferocious lion.

But it all comes down to Mr. Whiskers. The lion’s CGI animation is merely adequate, so even though he spooks you he never comes across as quite real. After some early thrills, director Baltasar Kormákur’s movie ceases to excite because the creature has no more surprises left. He just jumps through the window — again.

And the final epic fight is laughable. In real-life, Nate would be mauled to death in five seconds.

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• ENGLISH HINDI MALAYALAM TAMIL TELUGU KANNADA BENGALI  

Beast English Movie

Beast is a 2022 English movie directed by Baltasar Kormákur starring Idris Elba, Iyana Halley, Leah Sava Jeffries and Sharlto Copley. The feature film is produced by Baltasar Kormákur, James Lopez and Will Packer and the music composed by Steven Price.

Director: Baltasar Kormákur Producers: Baltasar Kormákur, James Lopez, Will Packer Music Director: Steven Price Cinematographer: Philippe Rousselot Editor: Jay Rabinowitz Screenplay Writer: Ryan Engle Original Story Writer: Jaime Primak Sullivan

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Beast (English)

Release date: 02 september, 2022, beast (english) movie.

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The Beast review: An ambitious, compelling monster of a movie

Léa seydoux and george mackay captivate in bertrand bonello's haunting sci-fi drama.

There’s an instant urgency in The Beast , the latest film from writer-director Bertrand Bonello, that persists despite its hefty runtime of 145 minutes. Even in its quietest moments, as Bonello’s pacing slows to a crawl and we are asked to consider every gesture, every weighty theme piled atop this towering stack of ideas, there’s a feeling that this film is aching to show us something, pushing ahead with an almost desperate need to convey its emotional truths.

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And if nothing else, The Beast is a thoroughly honest with its emotions. A human drama with a sci-fi concept for scaffolding, inspired by one of Henry James’ most haunting tales, Bonello’s new film takes its sense of urgency, combines it with two incredible central performances, and delivers one of the most impactful experiences you’re likely to have at the movies this year…even if it does take you a while to untangle what you’ve just seen.

In 2044, much of the human workforce has been replaced by artificial intelligence, which is deemed safer and less emotional than the flawed human thinking that created previous global catastrophes. In this future version of Paris, Gabrielle (Léa Seydoux) is desperate for a sense of purpose. Eager to prove herself, she agrees to a procedure that will supposedly cleanse her of any emotional instabilities by going back through her past lives, the idea being that confronting and eventually eliminating any lingering trauma in her genetic code will make her not just more qualified for a job, but more satisfied and docile.

Reluctantly, Gabrielle agrees, and through the procedure she’s transported back to two key eras. In 1910, a version of Gabrielle is a Parisian magician haunted by the idea that some impending doom will come to her. In 2014, another version of Gabrielle is an actress and model contending with the same sense that something awful could happen at any moment. And of course, there’s 2044 Gabrielle, who wrestles constantly with the idea of losing the intensity of her own emotions, and with it the very thing that makes her human. Through it all, she interacts with three different versions of Louis (George MacKay), who’s at times a lover, at times a friend, and at times a deadly force who might make Gabrielle’s premonitions come true.

It’s not hard to see what Bonello’s getting at here, particularly when 2044 Gabrielle must contend with lectures about how AI is superior to a human workforce and her own emotions are getting in the way of her happiness. There’s an overt bleakness to this imagined future, one that’s countered by the vibrant hues Bonello’s camera conjures in the luxuriant reds and greens of turn-of-the-century Paris and the cool pool-water blues of 2014 Los Angeles. We are meant, immediately and deliberately, to examine what the world would be like if we were invited to pull all passion out ourselves in the name of a greater purpose.

But then, Bonello’s film goes deeper, taking us through Gabrielle’s past lives and, therefore, her past passions—worlds and times when she wasn’t faced with making such a choice. Or was she? In 1910 and in 2014, there are moments in which Gabrielle must contend with her own emotional weight in harrowing, tense ways, all while wrestling with the feeling that she’s somehow inevitably doomed. In these moments, Bonello reminds us in ways both invigorating and terrifying that emotional investment is always a risk, always a potential trigger point for doom. And if that’s the case, is it ever truly worth it?

To its credit, The Beast leaves that question unanswered, preferring instead to show us two characters who wrestle with the question across time and space, never quite arriving at an easy conclusion. That means that both Seydoux and MacKay have to walk a tightrope throughout, transforming themselves with each phase of the film while also retaining a constant sense of yearning, channeling the urgency of Bonello’s filmmaking in scene after scene. For Seydoux, that means turning in one of the most moving and challenging performances of her career. For MacKay, that means becoming a chameleon who never changes his face. Both do tremendous, powerful work, squeezing every ounce of feeling from even the most syrup-slow of sequences.

As it carefully and methodically winds its way through three different eras of human experience, there are times when The Beast might feel a little lost, a little too ponderous, a little too wrapped up in its own luxuriant exploration of its themes. By the end, though, those concerns melt away as the film reaches an unnerving crescendo. The Beast is a monster of a movie, one that will sink its claws into you, then ask you to contemplate the wounds it leaves. It’s not an easy watch, but it is a deeply rewarding one that you’ll be thinking about for days.

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News Cutie and the Beast Manga Resumes After Ending in 2022

Yuhi Azumi 's Cutie and the Beast ( Pujo to Yajū: JK ga Akyuyaku Wrestler ni Koi Shita Hanashi ) manga resumed serialization on pixiv 's " Palcy " manga app on April 22 after ending in January 2022. The app also revealed the series ends again with chapter 16's release on Monday.

The manga resumed serialization in December 2021 after an 11-month hiatus.

Seven Seas licensed the manga in English, and it describes the story:

Unlike her friends who are into pretty boys, Momoka has a crush on a giant professional wrestler named Kuga who plays a villainous heel on TV. But in real life, Kuga is a big softie, and he really appreciates her fan mail! In this lighthearted romantic comedy, a little TV crush for a very big man might just grow into something more.

Azumi launched the manga in Kodansha 's Bessatsu Friend magazine in January 2019. The manga's third compiled book volume shipped in Japan in May 2020. Seven Seas shipped the manga's third volume in July 2021. Seven Seas lists the release date for the manga's fourth and final compiled book volume as May 2025.

Source: Palcy

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