The Maddock Horror-Comedy Universe has been a remarkable experiment in Indian cinema—an ambitious fusion of folklore, supernatural fantasy, and quirky humor. Beginning with Stree (2018), followed by Bhediya, Munjya, and Stree 2, each film expanded the universe with its own brand of myth and mischief. When Thamma was announced, expectations skyrocketed. Directed by Aditya Sarpotdar, who previously helmed Munjya, and featuring the fresh pairing of Ayushmann Khurrana and Rashmika Mandanna, the film promised to take viewers into a darker, more seductive world—where love, mythology, and vampirism intertwine. Unfortunately, despite its fangs and flair, Thamma doesn’t quite bite deep enough.
Plot: A Love Story Between the Living and the Undead
The film begins in an ancient era, during the reign of Sikandar, when legends of Betaals—mythical creatures resembling vampires—were whispered across kingdoms. A brave warrior ventures into their cursed forest, never to return. This haunting prologue sets the tone for the central narrative that unfolds in the present day.
Enter Alok Goyal (Ayushmann Khurrana), a confident yet naïve Delhi boy who embarks on a weekend adventure with his friends deep into the same mysterious jungle. What begins as a fun outing soon turns terrifying when Alok encounters a werewolf. Left bleeding and stranded, he’s saved by Tadaka (Rashmika Mandanna), a mesmerizing yet enigmatic woman who belongs to the mystical Betaal clan, ruled by the intimidating Yakshasan (Nawazuddin Siddiqui).
As Tadaka defies Yakshasan and leaves her world to follow Alok into human civilization, she must hide her true nature. Alok, smitten by her innocence and charm, brings her home to Delhi. However, her strange behavior, aversion to sunlight, and mysterious aura make Alok’s father (Paresh Rawal) suspicious. Meanwhile, Yakshasan sends his supernatural henchmen to retrieve her, setting off a battle between two worlds—one governed by humanity, the other by immortality.
Is Tadaka merely a cursed woman in love, or is she the Thamma—a vampire-like creature destined to bring doom? This central mystery drives the narrative, though the answers arrive too late and too tamely to leave a lasting impact.
Direction and Writing: An Uneven Blend of Myth and Modernity
Director Aditya Sarpotdar attempts to weave a new mythological thread into the growing Maddock Universe. His earlier film, Munjya, managed to combine Marathi folklore with modern sensibilities, balancing horror and humor with impressive finesse. Thamma, however, feels scattered in comparison.
The film tries to do too much at once—it wants to be a tragic love story, a supernatural thriller, a mythological allegory, and a horror comedy all in one. The result is a narrative that never quite settles into any of these tones convincingly. The first half races through exposition, introducing the Betaal lore and Tadaka’s backstory in hurried fragments. The romance between Alok and Tadaka develops too quickly, robbing it of emotional depth.
In contrast, the second half overcompensates. Cameos from familiar characters in the Stree universe—meant to excite fans—feel forced and unnecessary. Instead of deepening the mythology or exploring Tadaka’s internal conflict, these moments distract from the central story. The film’s attempt to connect multiple timelines and mythic species (werewolves, vampires, spirits) is ambitious but poorly executed, resulting in a muddled screenplay that lacks both coherence and suspense.
While Stree balanced satire and scares, Thamma is neither funny nor frightening enough. A few clever one-liners—particularly a sharp jab at Delhi’s unsafe streets—offer brief respite, but they’re drowned out by tonal inconsistencies and uninspired dialogues.
Performances: Actors Outshine the Script
If there’s one redeeming aspect of Thamma, it’s the performances.
Ayushmann Khurrana, known for his ability to embody unconventional roles, throws himself into the character of Alok with sincerity. He captures the transformation from a cocky Delhi youth to a man torn between love and fear. His comic timing and emotional range are impeccable, but the weak writing restricts him from delivering the full impact he’s capable of. One can’t help but wish he had more compelling material to work with.
Rashmika Mandanna finally lands a Hindi film role that allows her to showcase more than just charm. As Tadaka, she balances vulnerability and mystique, portraying her duality—half-human, half-supernatural—with grace. Her expressive eyes and restrained performance make Tadaka one of the film’s few emotionally resonant characters. Yet even she cannot salvage the underwritten romantic arc.
Nawazuddin Siddiqui as Yakshasan, the fearsome lord of the Betaals, is the film’s biggest disappointment. His performance, which should have evoked dread and fascination, borders on caricature. Overdone makeup, exaggerated mannerisms, and inconsistent dialogue make him more comical than menacing. It’s a wasted opportunity for an actor of his caliber.
Paresh Rawal, in a limited role as Alok’s father, delivers his lines with trademark wit but is reduced to a stereotype—the conservative patriarch who distrusts his son’s choices. Supporting actors Geeta Aggarwal and Faisal Malik do their best with minor roles, adding occasional warmth to an otherwise uneven ensemble.
Technical Aspects: Style Without Substance
Visually, Thamma is a mixed bag. The production design and VFX deserve some credit—the haunted forest sequences and the depiction of the Betaal realm have a dark, earthy allure. However, the CGI in several key scenes, especially during the final showdown, feels rushed and inconsistent.
The film’s music, composed by Sachin–Jigar, features a few catchy tracks, but none leave a lasting impression. The background score, which should have elevated the tension, feels generic. The editing is choppy, particularly in the transition between horror and romance scenes, further emphasizing the film’s tonal confusion.
What Works—and What Doesn’t
What Works:
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Rashmika Mandanna’s sincere performance as Tadaka.
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A few visually striking moments, especially in the first half.
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The underlying concept of a mythological vampire within Indian folklore—a fresh angle for Bollywood.
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Clever social commentary in fleeting moments, particularly references to gender and safety.
What Doesn’t:
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Weak writing and inconsistent tone.
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Predictable plot progression with a rushed first half and overstuffed second half.
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Lack of humor and horror—the franchise’s signature ingredients.
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Unnecessary cameos that dilute the main story.
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A disappointing climax that fizzles out instead of exploding like a Diwali firecracker.
Verdict: A Toothless Tale in a Universe of Giants
Thamma had the potential to be a fascinating addition to the Maddock Horror-Comedy Universe—a film that could’ve deepened the mythos while introducing new emotional dimensions. Instead, it becomes the weakest link in the chain. The film’s biggest flaw lies in its inability to decide what it wants to be: a supernatural romance, a horror comedy, or a mythological fantasy. By trying to be all three, it ends up being none convincingly.
For audiences expecting a thrilling Diwali entertainer filled with chills, laughs, and charm, Thamma will feel like a damp sparkler—bright for a moment but quick to fade. Despite earnest performances by Ayushmann Khurrana and Rashmika Mandanna, the film suffers from a lack of narrative bite and emotional payoff.
In the end, Thamma is not a disaster, but it’s far from the firecracker it promised to be. A few sparks of brilliance can’t save a film that forgets the most important rule of horror-comedy: without strong storytelling, even the sharpest fangs fail to pierce.
⭐ Rating: 2/5
Thamma lacks the wit of Stree, the flair of Bhediya, and the heart of Munjya. It’s a visually appealing yet narratively hollow attempt that proves even vampires need better scripts to stay alive.
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