Supernatural-Comedy Formula Hits a Wall
The once-unbeatable formula from Maddock, which blended supernatural horror with genuine comedy in hits like Stree, shows clear signs of exhaustion in Thamma. The film, starring Ayushmann Khurrana and Rashmika Mandanna, is a clear case of diminishing returns. It diligently follows the established playbook—mythological creatures, meta-jokes, and multiple cameos—but forgets the most crucial ingredient. The result is a loud, crowded, and surprisingly joyless experience that fails to capture any of the magic of its predecessors.
A Story Lost in the Noise
The film's plot is thin and serves only as a framework for chaotic set-pieces. Alok (Ayushmann Khurrana) is a clueless character attempting to film a viral reel in a jungle when he is rescued by a mysterious woman named Tadaka (Rashmika Mandanna). We are quickly introduced to a local tribe of "betaals," who are essentially blood-drinking immortals. This setup is a convoluted excuse for a story, but it never becomes engaging. The writing, credited to three different people, is remarkably dull. Any potential for humor is drowned out by an ear-splitting background score that values noise over wit.
Stars Who Fail to Find the Funny
A supernatural-comedy of this kind demands that its actors remain light-on-their-feet, a skill that Rajkummar Rao mastered in Stree. The star-studded cast of Thamma fails to meet this standard. Ayushmann Khurrana, even with a set of pointy fangs, tries hard, but is never genuinely funny. Rashmika Mandanna, while looking the part with sharp kohl and cool outfits, generates zero chemistry with her co-star. Their romance is a central plot point, but it feels flat and unconvincing. Even the formidable Nawazuddin Siddiqui, as the titular villain, is wasted in a one-note role that reduces him to snarling and flashing red eyes.
One Cameo Highlights the Failure
It is incredibly telling that the film's biggest, and perhaps only, genuine laugh comes from a brief cameo. Abhishek Bannerjee, in a walk-on part, perfectly understands the assignment and nails the silly, deadpan tone the rest of the movie is missing. His entry received the loudest laugh of the entire film. This single, successful moment only serves to highlight how heavy and unfunny the rest of the production is. The film is cluttered with tired jokes, like references to "Vikaspuri ke wolverines," that fall completely flat.
Thamma is proof that simply repeating a successful formula is not enough. Without a sharp script or genuine humor, the result is a noisy and hollow experience. As one character aptly says near the end, "Stop it, brother, it's too much." This is a sentiment the audience will likely share. The once-fresh supernatural-comedy genre is in desperate need of new ideas.
