The night doesn't seem like it could get much worse for Michael, but that's just the beginning. Just when he thinks he's made it out alive, he's discovered by a pair of cops who tell him that he's not been gone for a night, but for a week, and that not only are the members of the household dead, but so is his new bride, and that he's the culprit. Emergency call after emergency call go unanswered as MIchael attempts to escape from this deadly trap, but soon he finds himself playing a potentially deadly game of chicken with a force that seems to want him dead. One evening, Michael is called to a ritzy bungalow to make a delivery, however, things don't go as planned when his customer winds up dead and he ends up locked inside the house with the killer. Sethupathi plays Michael, a pizza delivery guy who has fallen in love with and surreptitiously wed his aspiring novelist lover, Anu. Subbaraj's twisty-turny script and the bright-eyed performance of Tamil indie darling turned marquee star Vijay Sethupathi make Pizza into something I never thought I'd see, an Indian horror film that succeeds without qualification. Could be interesting, however, Indian horror films, especially contemporary ones, are invariably terrible, or so I thought. I tried to read up on it, but with the Indian film industry's notoriously tight lips, I was unable to glean much more than the fact that it was a horror film, or maybe a thriller, that follows a pizza delivery man over the course of a single evening. I first heard about Pizza when it was preparing to hit cinema screens back in 2012. In that vein, I have found a winner in Karthik Subbaraj's Pizza. I like to think of myself more as a curator of Indian films that a critic, my job is to point out the ones that have the potential to push beyond the Indian diaspora and into the eyeballs if the film geek community. A film may be great in the context for which it was designed and to the audience for whom it was made, but the very touches that make it a blockbuster in India often keep it from landing squarely with any other international audiences. A great many of my reviews of mainstream Indian films follow a similar trajectory. As a result, I find myself handing out more caveats than accolades. It's not the easiest thing in the world for general film audiences to adjust to the tropes and accepted suspension of disbelief that many Indian popular films demand.

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