Thamma Review: Thamma Struggles to Find Its Footing in the MHCU Universe
Thamma, the latest entry in the MHCU (Mythical Horror Cinematic Universe), attempts to mix action, romance, and Indian folklore, but ultimately falters under the weight of uneven storytelling and half-baked characters.
The story revolves around Alok (Ayush), a nervous journalist constantly tormented by online trolls. During a trip with friends, he gets lost in a forest and is saved from a bear attack by Tadaka (Rashmika), a mysterious woman of the forest. Their connection is immediate—her instincts react to his heartbeat, and he finds himself drawn to her untamed charm. However, the narrative soon escalates as the Bethaal tribe captures Alok and imprisons him in the lair of Yakshasan (Nawazuddin). Tadaka’s love for Alok forces her to defy centuries-old tribal laws, setting up a conflict between forbidden love and ancient customs.
Ayush, known for his small-town comedies over the last decade, makes a bold shift into action, but it feels unconvincing. His portrayal of Alok is inconsistent, with sudden personality shifts and inappropriate emotional reactions that break the immersion. The role demands a blend of vulnerability and courage, but the script doesn’t support this transition, leaving the audience unsure how to feel about him.
Rashmika shines visually—her presence is magnetic—but her character is frustratingly underdeveloped. Tadaka, despite supposedly living for centuries, behaves in ways that feel rushed and inconsistent. If the intention was to craft a love story akin to Jack Sully and Neytiri from Avatar, the emotional arc needed far more clarity and depth. Moments that should convey longing or internal conflict are instead glossed over, leaving her actions feeling arbitrary rather than instinctive.
Veteran actors Nawazuddin and Paresh Rawal are criminally underused. Nawazuddin’s Yakshasan, a potentially menacing villain, barely gets room to breathe, and Paresh’s presence feels largely wasted. Varun’s cameo as Bhediya adds a flash of energy, but it’s not enough to salvage the film.
On the technical front, the VFX and music are serviceable but forgettable. The visualisation of supernatural elements works at a basic level, yet the film fails to capitalise on its Indian folklore roots. Introducing vampires into Indian mythology was ambitious, but the script barely lays any groundwork. The lore, particularly the history of vampires and humans before British colonisation, is skimmed over. The “Rakthabheej” concept and the divine creation of vampires are clever ideas, but they are buried under weak humour and forced social media references that rarely land.
Ultimately, Thamma feels like filler in the MHCU universe. Its promising concept—interweaving romance, folklore, and horror—is undermined by poor writing and tonal inconsistency. The film could have been a fascinating exploration of love, tradition, and supernatural conflict, but instead, it stumbles through half-formed characters and underdeveloped world-building. Fans of the universe may watch out of loyalty, but casual viewers will likely find it a frustratingly shallow experience.
Verdict: Ambitious in concept, flawed in execution. Thamma struggles to carve its identity in the MHCU universe.
Fridaywall rating: 1.5/5
