Venue: Hoyts, Cinema 4, Sunnyvale, Brisbane
Showtime: Saturday, 10:15 AM
Seating Capacity: 62 (including 3 for wheelchair access)
Attendance: 7
Yes, just seven of us in a hall meant for 62. My son-in-law and I were the first to enter the silent space. Eventually, a few more trickled in—a group of three, and a couple. That’s all. And this, for a film supposedly riding a wave of digital hype: Kingdom, starring Vijay Deverakonda.
I was told by a theatre staffer that such low turnouts are par for the course for hyped Indian films abroad, especially post-COVID and post-OTT boom. No surprise there, he said. It’s a pattern. Theatrical viewing overseas, especially for Indian films, has become a niche experience. So why did I go?
Frankly, I wanted to compare the theatrical experience in Australia with what I’ve grown used to in Hyderabad. There, I often remove my hearing aids in theatres because the sound levels are uncomfortably loud. In Brisbane, it was no different—I watched Kingdom without hearing aids, and still heard it loud and clear. Even the theatre staff agreed that audio levels are recorded too high at the source.
On the brighter side, senior citizen discounts are available. Plus, Tuesdays are discounted for all viewers—small mercies for the rare ones who still brave cinemas.
This prelude is to make a broader point: today, box-office success can’t be gauged by theatre footfall alone. OTT platforms are rewriting the rules. Reports of “million-dollar foreign grosses” should be taken with a pinch of salt, especially in countries like Australia. Maybe in the US—with its much larger Indian diaspora—the story is different. But globally, OTT viewership now outweighs box-office numbers, often by a huge margin.
The Film Itself
Kingdom scores high on technical grounds—music, cinematography, and editing are top-notch. The story revolves around brotherhood, and Vijay Deverakonda and Satya Dev bring credible intensity to their roles. Surprisingly, there’s no conventional heroine to speak of. It’s a testosterone-driven narrative, where emotional depth is traded for male bonding and action.
But the true scene-stealer is the villain, played by Venkitesh from Kerala. Handsome, menacing, and charismatic, he holds his own against the film’s two leads. His brief appearances leave a deeper impact, injecting suspense and a dark charm into an otherwise predictable narrative.
Vijay dominates the screen, while Satya Dev plays second fiddle. The director ensures both get their moments, keeping the pace brisk and engaging. The film takes us on a geographic ride from Srikakulam to Sri Lanka. Tamil dialogues occasionally slip in, but are easy to follow thanks to English subtitles—a standard practice in overseas screenings to make Indian cinema more accessible.
The story, however, is nothing revolutionary. It’s rather formulaic. Vijay seems better suited for quirky, humorous roles like in Geetha Govindam, which was a hit largely because of his comedic timing, not biceps and brooding, as showcased in Kingdom.
Still, his shirtless scenes, fight sequences, and physical charisma may draw in younger audiences. That said, there’s a growing weariness among viewers toward crime-heavy, blood-soaked narratives. Many now seek lighter, more relatable fare.
Verdict
Kingdom is salvaged by its technical finesse, a compelling villain, and decent performances from the male leads. It’s not a must-watch, but not a waste either—especially if you’re a fan of Vijay Deverakonda.
My rating: 2.5 out of 5.
Generous viewers may stretch it to 3 or 3.5—but that’s pushing it. At best, I’ll offer a grace of 0.5. But no more.
