Title: Bhool Bhulaiyaa 3
Director: Anees Bazmee
Cast: Kartik Aaryan, Vidya Balan, Madhuri Dixit, Triptii Dimri, Vijay Raaz, Rajpal Yadav, Sanjay Mishra
Where: In theatres
Rating: ***1/2
The third installment in the Bhool Bhulaiyaa franchise proves that Anees Bazmee hasn’t lost his knack for blending humor and horror into a frothy cocktail of entertainment, even if this cocktail sometimes leaves you with a sugar rush and a hangover of disbelief. This film, dances unapologetically on the thin line between horror and slapstick, daring you to laugh, shiver, and groan all in one sitting.
At its core, the film is a redemption story, packed with reincarnation, dream sequences, and jump scares, weaving themes of forgiveness and second chances into its whirlwind narrative.
The film opens with a promise: that of mystique and menace. Rakhtgat, a crumbling princely estate in West Bengal, is the perfect gothic backdrop, complete with echoes of Manjulika, the malevolent spirit haunting our nightmares since the franchise’s inception. The setup, filled with sinister chants and tantra-mantra, prepares you for a bone-chilling ride. But just when you’re bracing for a scare, the narrative swings into a comedy led by Kartik Aaryan’s Ruhan, the self-proclaimed Rooh Baba.
Kartik Aaryan, a bona fide crowd-puller, delivers a zany performance that matches his character’s eccentric wardrobe. His infectious comedic timing shines, especially when Rooh Baba channels the Raja’s late first wife, switching personalities in rapid-fire bursts. It’s classic Bollywood masala—scattered brilliance amid illogical but entertaining sequences. Aaryan's energy drives the film, proving he’s more than capable of leading this madcap franchise.
Triptii Dimri as Meera is serviceable—her screen presence a notch above bland, but never quite captivating. It’s Vidya Balan, returning with grace, who steals the show. As Mallika, the palace restorer with an enigmatic aura, she mesmerizes, reminding us of her spine-tingling brilliance from the original. Watching her embody the role once again feels like a full-circle moment, a nod to nostalgia that hits the right note.
Then there’s Madhuri Dixit, gracing the screen as Mandira, the palace’s potential buyer, and Anjulika, Manjulika’s vengeful sibling. It’s a curious dual role, and while Dixit’s charm is undeniable, her presence feels forced into the film, especially during a duet with Balan that could’ve been cut without much ado. The song-and-dance routine is jarringly misplaced a romantic interlude as baffling as a ghost cracking jokes in the middle of an exorcism.
Rajpal Yadav, Sanjay Mishra, and Ashwini Kalsekar form the comic trio, their impeccable timing salvaging scenes that teeter on the edge of absurdity. They are a riot delivering laughs with the precision of a seasoned jester.
The VFX team deserves a shout-out for conjuring ghosts and ghouls that actually look menacing rather than cartoonish. The film’s production values are top-notch, lending a visual grandeur to this haunted circus.
Yet, at 2 hours and 15 minutes, the narrative stretches like an overused rubber band, especially in the convoluted middle act. The climax redeems the chaos, tying loose threads with a surprisingly emotional twist that elevates the film beyond a mere parade of gags.
Overall, this film isn’t perfect. It’s messy, exaggerated, and occasionally silly. But it’s also unabashedly entertaining, a ‘paisa vasool’ ride that delivers chills and chuckles in equal measure.
