Thamma Movie Review: A Festive Horror Comedy
That Wears Its Fangs, but Doesn’t Bite!!
Introduction
Directed by Aditya Sarpotdar and starring Ayushmann Khurrana, Rashmika Mandanna and Nawazuddin Siddiqui, Thamma arrives just in time for Diwali (October 21, 2025) as yet another chapter in the expansive horror-comedy universe by Maddock Films. With a blend of folklore, vampire-like creatures (Betaals), romance and heavy visual ambition, the film aims to deliver a festive entertainer. The question is: does it succeed?
Plot & Premise
The story follows Alok Goyal (Ayushmann), a small-time reporter who ventures into a forest and encounters Tadaka (Rashmika), a member of an ancient tribe of Betaals supernatural beings traditionally bound by strict codes. Alok is captured and offered in a ritual, forcing Tadaka to break her tribe’s rule and intervene. The ensuing tale pits human and supernatural, love and duty, myth and modernity, culminating in a clash with the brutal rogue leader Yakshashan (Nawazuddin) and his world-upending agenda.
Ayushmann’s Worst
In Thamma, Ayushmann Khurrana delivers one of his most uninspired performances to date. Known for his natural charm and emotional depth in films like Article 15 and Bareilly Ki Barfi, he appears unusually detached here, as if merely going through the motions. While his acting isn’t bad, it lacks the conviction and spark that once defined his work. Critics from India Today and Filmfare describe the film as “lifeless” and “drained of charm,” noting that Ayushmann’s sincerity feels unsure and his performance lacks emotional weight. Despite his consistent screen presence, he fails to elevate the weak script or forced romance, making Thamma feel like a project done out of obligation rather than passion arguably his weakest outing yet.
The Worst Intro
One of the most perplexing and illogical scenes in Thamma occurs early in the film when Ayushmann Khurrana’s character, Alok, is attacked by a bear during a jungle trek. While this sequence aims to establish his meeting with Rashmika Mandanna’s character, Tadaka, the execution raises significant questions. The primary issue lies in the choice of the bear: instead of an Indian bear, which is typically smaller and less aggressive, the film features a North American bear, known for its larger size and more formidable nature. This decision not only feels out of place but also undermines the film’s attempt to root its supernatural elements in Indian folklore. The use of a CGI North American bear seems more like a dramatic spectacle than a thoughtful narrative choice, leading to a jarring disconnect with the film’s setting and cultural context.
Critics have pointed out the film’s reliance on such exaggerated sequences to build tension, often at the expense of logical consistency. For instance, the bear attack serves as a catalyst for Alok’s encounter with Tadaka, but the implausibility of the scenario detracts from the intended suspense and emotional impact. This scene exemplifies the film’s broader struggle to balance spectacle with storytelling, resulting in moments that feel forced rather than organically integrated into the narrative.
The Supporting Cast
In Thamma, Paresh Rawal portrays an over-caring father who could have been the emotional anchor of the story, but the weak script never allows his character to fully shine. While Rawal brings charm, humor, and genuine warmth to his role often stealing scenes with his timing, his character feels inconsistent due to the film’s uneven writing. Critics note that his portions, though heartfelt at times, also feel “force-fitted” just to evoke laughs, leaving the character oscillating between meaningful and misplaced. Despite his experience and effort, Rawal’s performance becomes a hit-and-miss element in a film that doesn’t quite know how to use its supporting cast effectively.
Villain with No Villainy
In Thamma, Nawazuddin Siddiqui takes on the role of Yakshasan, the film’s primary antagonist, yet he struggles to make a lasting impact. Known for his ability to portray complex and intimidating characters, Siddiqui brings eccentricity and a certain screen presence, but the underdeveloped script and shallow character motivations leave him without the depth needed to be truly menacing. Critics have pointed out that his performance occasionally veers into overacting, which clashes with the film’s inconsistent tone, further diluting the threat his character is supposed to pose. While Siddiqui’s presence adds star power and moments of intrigue, the lack of a compelling backstory or psychological layering reduces Yakshasan to a chaotic force rather than a memorable villain. Ultimately, the character feels more like a missed opportunity, turning what could have been a standout performance into a portrayal of a villain with no real villainy.
Lack of Chemistry
In Thamma, the emotional pulse of the story falters primarily due to the lack of chemistry between Ayushmann Khurrana and Rashmika Mandanna. Despite Rashmika’s evident improvement in her Hindi diction and her sincere attempt to match Ayushmann’s natural screen presence, their connection feels oddly distant. The romantic sequences often appear mechanical, missing the spark and emotional resonance that could have made their love story believable. At times, the relationship feels forced, as if the narrative is trying too hard to convince the audience of a bond that never truly ignites. While both actors deliver earnest individual performances, together they fail to create the magic expected from a heartfelt romantic drama.
Connection with Bhediya
The only truly exciting aspect of Thamma is its connection to Maddock Films’ expanding horror-comedy universe, tying it with Bhediya and Munjya. While the film itself struggles to engage, the crossover moments particularly Varun Dhawan’s cameo as his werewolf character from Bhediya injects some much-needed thrill and coherence into the larger supernatural world. Critics note that this shared universe element feels more compelling than the main plot itself, hinting at an ambitious plan to link vampires (or Betals) and werewolves within an Indian mythological context. Director Amar Kaushik had earlier confirmed that the Maddock team was intentionally interconnecting stories while building this “Stree Universe,” and Thamma continues that effort. Interestingly, the Munjya mid-credits scene already teased Bhaskar (Varun Dhawan) discussing a mysterious blood-sucking entity, paving the way for Thamma’s vampire thread. Though Thamma fails as a standalone film, its biggest win lies in expanding this supernatural universe and finally bringing audiences a glimpse of an Indian-style Vampire vs. Werewolf face-off, something both surprising and exciting for fans of this cinematic world.
Unnecessary Item Songs
Thamma features several high-profile item songs, including performances by Rashmika Mandanna, Nora Fatehi, and Malaika Arora, but their excessive inclusion has drawn criticism. While the songs showcase energetic dance and glamour, they often feel disconnected from the story, diverting attention from the film’s main plot and characters. Critics argue that these sequences prioritize spectacle over substance, diluting the horror-comedy experience and disrupting the narrative flow. Ultimately, the item songs, though visually appealing, come across as unnecessary additions that weaken the film’s cohesion.
Origins of Indian Vampires
One of Thamma’s most notable achievements is how it reimagines the Vetala from Indian folklore as a culturally rooted vampire. Unlike typical Western vampire narratives, the film preserves the mythic and moral dimensions of the Vetala, presenting them as supernatural beings with strict rules around blood consumption, whose transgressions set the story in motion. This draws directly from centuries-old Indian tales, including the Vetala Panchavimshati, where the Vetala is a spirit inhabiting corpses, testing humans through riddles, and blurring the line between predator and protector. By giving these Betals vampiric traits – bloodlust, transformations, and a defined sect. Thamma grounds its horror in Indian tradition rather than imitating Western tropes. Critics and viewers alike have praised this approach, noting that it adds depth and cultural specificity to the film’s supernatural universe, while offering a fresh perspective on the classic Vampire vs. Werewolf showdown in an Indian context.
Good Cameos
One of Thamma’s strongest elements is its well-timed cameo appearances, which enhance both fan enjoyment and the film’s connection to the Maddock Horror Comedy Universe (MHCU). Varun Dhawan’s return as Bhediya adds intensity and excitement, while characters from previous MHCU films, such as Elvis Karim Prabhakar from Munjya, create continuity and reward longtime fans. The post-credit introduction of Aneet Padda as Shakti Shalini hints at future storylines, expanding the universe further. However, despite these engaging cameos, they do little to elevate the film itself, which continues to struggle with weak storytelling and uneven execution.
Conclusion
Thamma works best as a connective thread within the Maddock Horror Comedy Universe (MHCU) rather than as a standalone film. While it successfully ties into Bhediya and other entries in the universe, its story lacks coherence, emotional depth, and genuine horror, leaving the romance and comedy feeling forced. Critics have pointed out that performances, including Ayushmann Khurrana’s, are earnest but fail to elevate the weak material. Despite these flaws, the film has achieved commercial success, reflecting the audience’s interest in the MHCU. Overall, Thamma is more effective as an OTT release that expands the horror-comedy universe, and for a more satisfying Diwali watch, revisiting Kantara Chapter 1 or Lokah Chapter 1: Chandra might be a better choice.