‘Thamma’ Movie Review: Ayushmann Khurrana’s Horror-Comedy Misses the Magic of ‘Stree’

Ayushmann Khurrana has never been one to hold back when it comes to creative risk-taking, and Thamma is another case in point for his attempts to try out fresh genres. Directed by Aditya Sarpotdar, who earlier gave us the surprise hit Munjya, the film is the fifth one in Dinesh Vijan’s Maddock Horror-Comedy Universe (MHCU) following Stree, Roohi, Bhediya, and Munjya.

The concept of Thamma is promising folk, fantasy, and comedy coming together to make a distinctively Indian supernatural tale. But while it has its possibilities and impressive visuals, the film fails to balance its pieces and becomes an uneven experience that falls short of the expectations set by its predecessors.

Story: When a Betaal Breaks the Rules for Love

Thamma is the tale of Alok (Ayushmann Khurrana), a reporter whose inquisitiveness gets him into an unusual predicament. He becomes infatuated with Tadaka (Rashmika Mandanna), a stunning but enigmatic lady who has a dark mystery she is a betaal, a ghost who belongs to a very old race that exists between life and death.

Tadaka has committed something forbidden in her world she’s in love with a human being. Her love for Alok unleashes a perilous course of action that awaken Yakshasan (Nawazuddin Siddiqui), the ruthless and sharp-tongued chief of the betaals, who has been locked up for centuries.

While Alok and Tadaka battle to live and defend their love, they also have to deal with supernatural obstacles, curses from centuries past, and the anger of Yakshasan. It’s a tale with so much potential romance, mythology, and humor but alas, the execution does not always match the concept.

Ayushmann Khurrana Keeps It Together

If there’s one steady strength in Thamma, it’s Ayushmann Khurrana. As Alok, he executes the bewilderment, fear, and humor of an ordinary man suddenly placed in an extraordinary situation with great aplomb. His responses are believable, his comic timing impeccable, and he lends emotional gravity to even the most ridiculous scenes.

Khurrana’s ability to add reality to absurdity a skill he’s perfected in movies such as Andhadhun and Dream Girl is evident again. He leaves himself on screen for the character of Alok, who remains relatable and endearing even as the narrative begins to derail. Had his down-to-earth performance not been present, Thamma would have found it hard to remain buoyant.

Rashmika Mandanna Fails to Leave an Impact

Sadly, Rashmika Mandanna’s portrayal of Tadaka doesn’t make much of an impact. Though she appears otherworldly and suits the character visually, her inability to learn good Hindi causes trouble once again. Her dialogue sometimes rings clumsy and disrupts the emotional rhythm in important scenes.

Tadaka’s persona could have been strong a mythical soul caught between love and obligation but the script does not provide her with sufficient depth, and Rashmika’s performance comes across as superficial. The romance between her and Ayushmann has some chemistry but never really ignites, diluting the love story at the center of the film.

Nawazuddin Siddiqui Steals the Show as Yakshasan

With every appearance on screen, Nawazuddin Siddiqui infuses Thamma with energy and humor. His one-man act as Yakshasan a betaal who has been around for centuries and has a penchant for terrible jokes and an unlikely love for English is side-splitting and memorable.

Whether he’s cracking silly one-liners or recalling how he once scared Alexander the Great, Nawazuddin completely owns his eccentric role. It’s clear he’s having fun, and that enjoyment translates beautifully to the audience. Sadly, his screen time is too short. If the film had given him more room, he could have easily carried it on his shoulders.

Humor That Misses the Mark

One of Thamma’s biggest disappointments is its comedy. Maddock Horror-Comedy Universe started with Stree, which was a masterclass in blending scares and laughter. Thamma falls way short of replicating that success.

The majority of the jokes come across as forced and repetitive. Even experienced comedian Paresh Rawal is underutilized in a character full of poor punchlines and immature humor. The movie even attempts to incorporate pop culture references, but they seem outdated and haphazardly added instead of being witty.

For good measure, Thamma tends to objectify its women, particularly during songs and Malaika Arora and Nora Fatehi cameos. The method comes across as old-fashioned and redundant, and especially so for a film that appears to be appealing to a young, family audience.

The Second Half Redeems the Film (Partly)

Though the initial half of Thamma is slow and disjointed, the film gathers speed once the interval comes in. Director Aditya Sarpotdar at last appears to get things going, coming up with some thrilling moments involving fantasy, mythology, and action.

Special mention must be made of the CGI. The visual effects in the movie from magical caves to bats, wolves, and magical beings are impressive and well-integrated with the narrative. These scenes make you think of what Thamma could have been if it had followed through on this caliber throughout. The pace picks up, the stakes rise, and the film momentarily captures the lighthearted, adventurous spark that made Munjya so big an upset. Alas, the buzz doesn’t last.

A Weak and Simplistic Climax

Just when you think that Thamma is going to give you a great thriller finale, it goes the easy route. The climax is hurried and simplistic, providing no emotional payoff whatsoever. Rather than resolve loose ends, the ending readily establishes next installments in the MHCU, which makes the movie more of a stepping stone than a complete story.

Even though creating a cinematic universe is an intelligent business decision, Thamma hurts from too great an effort to tie into the greater MHCU rather than concentrate on telling its own standalone tale. The end product is a movie that’s incomplete and less than fulfilling once the credits have rolled.

Direction, Music, and Technical Aspects

Aditya Sarpotdar’s direction displays flashes of brilliance, particularly in the latter half. He understands how to build atmosphere and suspense, but the inconsistent tone and haphazard editing keep Thamma from being consistently great.

The background music is good with the horror sequences, but no song is catchy. The cinematography, however, is visually pleasing warm colors, elaborate set designing, and robust CGI make Thamma’s world attractive even when the narrative goes awry.

Final Verdict: Watch It Later on OTT

Thamma is not an awful movie it’s just a missed potential. It had all the makings of a great member of the Maddock Horror-Comedy Universe: a good cast, a good concept, and good visual effects. But poor writing, bad jokes, and spotty performances bring it down.

Ayushmann Khurrana gives an honest and enjoyable performance, while Nawazuddin Siddiqui gets every scene sparkling where he appears. Yet, Rashmika Mandanna’s failure to make any mark and a slow first half make Thamma difficult to suggest for a cinema watch.