Thamma: a refreshing familiarity
- Akkshita G.
- 4 days ago
- 6 min read
Updated: 9 hours ago
By Akkshita G.
Starring: Ayushmann Khurrana, Rashmika Mandanna, Nawazuddin Siddiqui, Paresh Rawal
Director: Aditya Sarpotdar
Producer: Dinesh Vijan, Amar Kaushik
Production Company: Maddock Films
Writers: Niren Bhatt, Arun Fulara, Suresh Mathew
Director of Photography: Saurabh Goswami
Music: Sachin–Jigar
Lyrics: Amitabh Bhattacharya
Editor: Hemanti Sarkar
Casting Director: Anmol Ahuja
Thamma movie review
What started as a simple story about the events of a village in India has evolved into an entire universe that hosts a plethora of small-town supernatural stories all marching towards an Avengers-esque experience for the Indian audience, but this time with origin stories rooted in India.
Fantasy is a tricky genre. Its magic lies not only in the story’s imagination but in how that imagination is translated from paper to celluloid. The visual execution becomes the defining factor, and that demands a grand scale of filmmaking. This is where the West has had a better run at the movies in this genre. With budgets that can fully realize ambitious visions, they’ve been able to do justice to the genre time and again.
India, on the other hand, is a land steeped in rich history and culture. A place where fantastical stories are woven into our very roots. By all means, this should be the easiest genre for us to own. Yet, budget constraints have long stood in the way. The result? A string of subpar fantasy films that, more often than not, end up hurting rather than helping Indian cinema’s potential in this space.
A film like Brahmāstra was a commendable attempt — it had the vision, scale, and one of the strongest ensemble casts. It could have been the breakthrough we’d been waiting for. But while it dazzled visually, it stumbled where it mattered most: the screenplay and dialogue. The writing lacked spark, leaving you wondering how such glaring issues went unaddressed on set.
Overall, with Thamma and the MHCU (Maddock Horror Comedy Universe), there has been a valiant attempt to reclaim this genre. For the most part, Thamma delivers on being a well-made fantasy film.
Thamma is a love story set in a world where vampires (here: Betals) exist. Alok (Ayushmann Khurrana) meets Tadaka (Rashmika Mandanna), and what follows is a tussle between love and the supernatural.
The world of Thamma is very familiar. In part, it borrows from its predecessors, Stree and Bhediya, in terms of look and feel—color palette, screenplay structure, and the cross-pollination of characters moving between these films. The rest, it borrows familiar elements from Western vampire lore: training montages, the werewolf–vampire connection, and a ‘head’ clan governed by strict rules. Yet, Thamma manages to feel refreshingly original. The film’s well-handled treatment of the genre, seamlessly woven into an Indian cultural context, coupled with good performances and technical finesse, makes Thamma pleasantly surprising and a thoroughly entertaining watch.
My apprehensions going into the movie were high — I was nervous it would be yet another cringe attempt at the vampire genre, weighed down by a ridiculous backstory and shoddy execution. But I am overjoyed to be proved wrong. The portrayal of vampires is handled impressively. They’re given a concise yet compelling origin story, and the attention to detail in hair, makeup, and practical effects—from the fangs to the eye color—is notably well-executed. It’s these little touches that make a huge difference, helping you stay locked into a narrative you initially expect to be absurd, but ultimately find yourself laughing along, enjoying the ride.
The MHCU can broadly be divided into two creative branches: the Amar Kaushik branch, which tackles societal themes (the female experience in Stree and environmental conservation in Bhediya), and the Aditya Sarpotdar branch, which leans into human emotions (unhealthy obsessions in Munjya and unconditional/eternal love in Thamma). The distinct voices of these directors are tied together by the connective tissue of Niren Bhatt’s storytelling (the writer behind every MHCU film except Stree), creating a shared universe that feels cohesive yet distinct in identity.
Aditya Sarpotdar’s frames have a rare tangibility to them. His direction brings a sense of groundedness, using visual effects only when the story demands it and never as a crutch. The film stands strong across its technical departments — from visuals, sound design, and dialogue to comedy and hair and makeup — each working cohesively to enhance the cinematic world he builds. The way he used the camera and the framing of the shots to depict the “spider-senses” of the human-to-Betal transformation was very sophisticated and well-executed.
Where it stumbles is in the “love story” of it all. For a film marketed as a love story and consistently emphasizing the heart and heartbeat (the ultimate symbols of love), it falters on two essential fronts that define an epic romance: the soundtrack and the chemistry between the lead pair. Ayushmann does the heavy lifting in trying to generate that chemistry, to the point that the labored effort becomes visible on screen. Still, Rashmika’s stoic interpretation of Tadaka makes it difficult for their connection to cross the finish line fully.
In Hindi cinema, music often defines the love story — it’s what gives emotion its language. Thamma deserved a soundtrack with more heartfelt romantic ballads, but instead, we get one that falls short on emotional depth. The rest are, and I can’t believe I have to use this term in 2025, “item numbers” (my sincerest apologies). Their placement within the screenplay feels jarring, disrupting the otherwise steady narrative flow and pulling you out of the experience. The fact that there are two such songs in the film left me genuinely perplexed. They add nothing to the story or its progression, serving instead as mere checkboxes, as if to say, ‘we had one in Stree and Stree 2, so we must have them here too. ’ What’s overlooked, however, is that in those films, the songs had some sort of narrative purpose and (if you were to really argue, could say) meaningfully drove the plot forward, something Thamma misses.
That said, the VFX deserves a special mention. Perhaps it feels even more commendable because we’ve recently seen big-budget films falter on this front, but Thamma stands out for getting it right. The effects never appear overdone or artificial; instead, the balance between practical effects and VFX is carefully maintained. The film doesn’t depend on CGI for its settings or action sequences, reserving it only for moments that demand a touch of the supernatural — particularly in depicting the Bhediya. This restraint keeps the film’s world believable and visually consistent, even within its fantastical premise.
Thamma is more a setup than a full fledged / stand alone film the way Stree was. This has been a visible trend in the recent films of this universe where the focus is planting the seeds to the penultimate battle. The cameos worked for me (especially the one in the trailer) and had me genuinely intrigued. I might even say that it was the extended cameo that draws you back into the film when the disruptive songs take you out.
The film’s performances are a mixed bag.
Ayushmann Khurrana is back, and how. His signature 2010s charm is firing on all cylinders. His screen presence and dialogue delivery land every joke with ease, drawing genuine laughter. His portrayal of Alok is sincere, infused with a foolish naivety that makes him instantly endearing. The effortlessness with which he inhabits the character is a reminder of why he ruled the box office through the 2010s, and it’s simply elating to have him back.
Rashmika Mandanna portrays Tadaka, a Betal (vampire) whose limited exposure beyond her clan and forest life leaves her socially unversed and withdrawn until she meets Alok. However, Rashmika’s interpretation of this social detachment feels somewhat disjointed. Social ineptitude doesn’t necessarily equate to emotional blankness, a space her performance, unfortunately, wanders into.
Nawazuddin Siddiqui steps into Yakshasan’s shoes with trademark eccentricity. Sure, a bit of Housefull 4 déjà vu sneaks in (I have to guess that’s unintentional), but his version of a delusional, god-like villain lands when he focuses more on being the villain rather than the “comedy” of the “horror comedy”. Not peak Nawaz, but watchable. His presence in the film is limited and more omnipresent in mentions and apparent fear that misses being fully realized.
We even have Paresh Rawal in the mix here. Playing Ram Bajaj Goyal, Alok’s father. His character is a typical Indian father archetype who has spent one too many hours watching Crime Patrol and digging through conspiracy theories on the internet. The setup promises both warmth and wit, but the performance feels a bit tired, as if Rawal himself isn’t entirely convinced. What could have been a memorable supporting act instead lands as a missed beat, with flashes of brilliance too few and far between.
Final frame: Thamma is not without its flaws but succeeds where many stumble — technical prowess. It is a fun time at the movies that will keep you entertained and intrigued.