Bhooth Bangla review: Akshay Kumar holds the chaos together in Priyadarshan’s familiar yet watchable horror-comedy

Rating: ⭐⭐⭐ (3/5)

There’s a certain expectation that comes with a collaboration between Akshay Kumar and Priyadarshan. Over the years, the duo has delivered comedies that have gone on to become cult favourites. With Bhooth Bangla, they return to the horror-comedy space, a genre that has seen a resurgence in recent times. What they deliver, however, is a film that leans more on familiarity than freshness, but still manages to entertain in parts.

The story follows Arjun (Akshay Kumar), who travels from London to a small town in India after his sister inherits an old palace. What begins as a routine visit ahead of a family wedding soon turns into something more unsettling, as the village is believed to be under the shadow of a supernatural force that disrupts marriages. The premise holds promise, but the execution often treads predictable ground.

Priyadarshan sets up an expansive world, complete with eccentric characters and an eerie backdrop. The first half works largely because of its humour and pacing. There’s a rhythm to the chaos -something the director has mastered over the years. The film frequently reminds you of his earlier works, both in tone and visual treatment. For viewers familiar with his filmography, this familiarity can feel comforting, even nostalgic.

However, the same familiarity begins to weigh the film down as it progresses. The narrative becomes increasingly cluttered, with characters appearing and disappearing without much purpose. The second half shifts focus more towards the story, but struggles to maintain the balance between horror and comedy. There are moments that engage, but they are interspersed with portions that feel stretched. A tighter edit would have helped the film considerably.

If there is one element that consistently works, it is Akshay Kumar. The actor brings an ease to the role, handling both humour and situational chaos with confidence. His comic timing remains intact, and he manages to elevate scenes that might otherwise fall flat.

Rajpal Yadav, a regular in Priyadarshan’s films, contributes effectively with his physical comedy, while Paresh Rawal adds familiarity to the ensemble. Wamiqa Gabbi and Tabu have limited scope, and their characters don’t get enough room to develop. Jisshu Sengupta fits into his part, while Mithila Palkar remains underutilised.

Technically, the film is sound. The cinematography captures the setting effectively, and the visual effects blend well with the narrative. The music, composed by Pritam, is serviceable, though not particularly memorable. The background score does much of the heavy lifting in maintaining the film’s atmosphere.

Bhooth Bangla ultimately feels like a film caught between paying homage to a successful formula and attempting to expand it. It doesn’t quite achieve the sharpness or spontaneity of Priyadarshan’s best work, but it isn’t without merit either. There are laughs, there are moments of engagement, and there is enough star power to keep it afloat.

In the end, the film works as a passable entertainer- one that relies heavily on its lead actor and a tried-and-tested template. It may not linger for long, but it manages to keep things moving while it lasts.