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Vijay (Ranbir Kapoor), who has yearned for his wealthy father's (Anil Kapoor) love and attention throughout his life, becomes obsessive and violent when his father is attacked. Seeking revenge and hunting down the conspirators becomes his sole purpose. A Godfather-inspired image on steroids, devoid of psychological tension.

Review: According to the film's protagonist, blood is thicker than water. The safety and unity of family are sacred, no matter how twisted the relations. We are led to believe that dysfunction is better than broken.

In a tiresome runtime of 3 hours, 21 minutes, filled with extreme bloodshed, testosterone, and blatant misogyny, writer-director Sandeep Reddy Vanga, known for his controversial statements, glorifies the alpha male once again through his Godfather-esque narrative.

When his father is shot, Vijay declares himself the 'man of the house' and takes matters into his own hands. He assures his father that he will safeguard their steel empire and family legacy but not before seeking revenge.

Despite his anger and daddy issues, Vijay maintains an active love life. He seduces Geetanjali (Rashmika Mandanna) with toxic macho traits and erratic, inappropriate humor. "Don't call me bhaiyya. I don't have brotherly feelings for you," he declares. He compliments her childbearing hips and, like Christian Grey, whisks her away in his private jet for some high-altitude dom/sub lovemaking. "You were the bottom; you didn't have to do much," he comments later. He even expects her to forgive his infidelity because she forgives his other crimes anyway. "Aap log mahinay ke chaar din pad badalne par bolte ho, main din mein chaar baar pad badal raha hu," he argues, questioning women's right to complain about period pain.

Pop culture has often romanticized bad boys, and Vanga takes this romanticization a bit too far. While his views on women and violence may unsettle viewers, these are his preferences as a director for the protagonist. The more significant issue lies in the lack of purpose in the story. His gun-wielding angry young man comes across as a rebel without a cause.

Cocky, broken, and problematic characters can be celebrated if they have a strong enough reason to explain the mayhem, if not justify it. Vijay lacks that reason, and in its absence, "Animal" becomes all swagger and no substance—a deranged family drama derailed by a lack of purpose. What fuels his fire and the rage within? The father-son discord, which forms the crux of the story, remains unexplored. Aside from Ranbir, the story barely invests in other characters, turning them into silent spectators, including the talented Anil Kapoor and Bobby Deol. AK excels in confrontational scenes, and Bobby looks menacing, but both have very little to do. Women are portrayed as submissive puppets, and Mandanna's Hindi dialogues are harder to comprehend than the film's intention.

The action feels like an interruption but has been shot well. The Ranbir-Bobby fight sequence exudes the intensity of Troy's iconic Hector-Achilles hand-to-hand combat scene. The background score and music work well with the film's mood.

"Animal" heavily relies on Ranbir Kapoor's talent and stardom. His raw sex appeal and unmatched intensity are the film's highlights. One of the finest actors of this generation, you find yourself trapped in his troubled mind as his blood-soaked eyes seethe with rage. Uninhibited, his ability to become the character he plays shocks, stuns, and draws you in each frame. Ranbir Kapoor lends that dangerously unpredictable quality to this deranged character and aces it, especially in that Vaastav-like crucial climax scene. He deserved a better script to match this level of performance.

Ranbir Kapoor can be Joaquin Phoenix, but "Animal" is no "Joker." This entire film could have just been a conversation between the father and his son.