Thamma Movie Review: Rashmika Mandanna’s Dark Turn Impresses, But Does the Horror Hit Home?

After back-to-back successes in Chhaava and Kubera, Rashmika Mandanna steps into uncharted territory with Thamma, a Hindi horror-thriller that pairs her with Ayushmann Khurrana for the first time. Directed by Aditya Sarpotdar, this film becomes the latest addition to the Maddock Horror-Comedy Universe (MHCU), following titles like Stree and Bhediya. With supernatural elements, twisted mythology, and a love story at its core, Thamma aims high—but does it deliver on its chilling promise?

Thamma opens with Alok (Ayushmann Khurrana), a television news anchor and amateur historian, who finds himself in grave danger during a forest expedition. Just when all hope seems lost, he is saved by Tadaka (Rashmika Mandanna), a vetala—a mythical undead being. But this isn’t your average vampire story. These creatures don’t hide from the sun or fear wooden stakes. Tadaka is not a monster, but rather a misunderstood, emotion-driven character who soon falls in love with Alok.

However, as their worlds collide, so do the rules of their existence. Tadaka breaks an ancient law set by Yakshasan (Nawazuddin Siddiqui), the imprisoned ruler of the vetalas who has been chained for 75 years. What begins as a mystical romance quickly escalates into a battle between realms, with dire consequences for both humans and the supernatural.

The first half of Thamma moves smoothly, blending romance, myth, and mild action with ease. Rashmika and Ayushmann share genuine chemistry, making their growing bond feel believable. The interval arrives at the perfect moment, setting up a thrilling second half that leans more into horror and the grander MHCU narrative.

However, despite a solid premise, Thamma falters where it should soar. The comedic portions, especially in the first half, feel underwhelming and sometimes forced. While the story tries to echo the magic of Stree, it lacks the emotional resonance that made that film memorable.

The post-interval phase adds intensity with smart integrations of MHCU lore and even dips into mythological territory by referencing the legend of Rakhtbeej. These elements enrich the narrative and connect the universe cohesively, showing the franchise finally finding its footing.

Rashmika Mandanna is undoubtedly the soul of the film. Her portrayal of Tadaka/Tarika is layered, intriguing, and emotionally engaging. Ayushmann, known for his comic chops, gets to let loose in a non-social drama setting, and he thrives in it. His timing is impeccable, and his transformation arc is handled with flair.

Nawazuddin Siddiqui, although not seen much on screen, leaves a lasting impression as Yakshasan. His character’s looming presence is cleverly used to build suspense, though one wishes his role had more depth and screentime.

Paresh Rawal adds a few chuckles as Alok’s father, but the emotional father-son subplot doesn’t quite land as intended. Meanwhile, surprise cameos (including a hilarious mix-up involving Ayushmann being mistaken for Aparshakti’s Bittoo from Stree) truly lift the mood and reinforce the interconnected nature of the MHCU.

Technically, Thamma is on point. The cinematography captures both eerie forests and mythical realms beautifully. The background score maintains a moody atmosphere without overpowering the scenes. The music doesn’t dominate the narrative but subtly supports it, allowing the storytelling to take center stage.

Where the film loses steam is in its direction. While the storyline is fresh and the screenplay has clever moments, the overall execution feels uneven. Horror enthusiasts might find the scares too tame, while comedy lovers may feel shortchanged by the flat humour. It’s a movie caught between genres, occasionally delivering but never quite excelling.

Thamma is not without its flaws, but it’s also not just another forgettable franchise entry. It’s a film that tries to balance mythology, love, horror, and humour—sometimes succeeding, sometimes stumbling. The writing shines in parts, especially through its witty one-liners and philosophical vetala-human comparisons (like Tadka’s memorable line: “Insaan zehreelay hote hain”).

What Thamma ultimately achieves is a firm step in evolving the Maddock Horror Universe. It proves there’s a broader plan in play, with stories that connect more organically than most shared universes attempt. Though the horror and comedy may not always click, Thamma ends on a promising note, leaving audiences curious—and cautiously hopeful—for what’s coming next.

If you go in looking for genuine thrills, you might come out a little underwhelmed. But if you’re in it for performances, clever writing, and the promise of a connected universe that’s finally finding its voice, Thamma is worth the watch.