The reunion of director Priyadarshan and actor Akshay Kumar, along with the elements of a haunted palace and the antics of ghosts from both the past and present, promised an entertaining experience with the 2026 film “Bhooth Bangla.” This movie was expected to capture the magic that made the 2007 film “Bhool Bhulaiyaa” a memorable comedy.
Recall the engaging narrative that intertwined traditional folklore with contemporary superstitions, featuring Akshay as a ghostbuster with a knack for humor and Vidya Balan’s haunting portrayal of Monjulika. Although not every moment resonated, Priyadarshan’s signature style—characterized by a chaotic blend of personalities and scenarios—created a nostalgic charm that appealed to audiences. However, some comedic elements that once delighted viewers now feel outdated. Nearly two decades later, the return of familiar faces such as Rajpal Yadav, Paresh Rawal, and Asrani has resulted in a film that lacks coherence, leaning more towards horror than comedy. The story only begins to find its rhythm in the latter part of the movie, but by then, it feels like too little, too late.
The narrative centers around Arjun Acharya, portrayed by Akshay Kumar, who resides in London with his soon-to-be-married sister Meera, played by Mithila Palkar. Their father, Vasudev, played by Jisshu Sengupta, travels the world discussing Indian mythology, though the film fails to clarify the characters’ professions, leaving viewers confused. Instead of coherent storytelling, the characters seem to deliver exaggerated dialogues in hopes of eliciting laughter.
There are occasional moments of humor, particularly when Rajpal Yadav makes an appearance, as his comedic timing resonates well with audiences. Asrani also attempts to bring some levity to his scenes, while Paresh Rawal’s role as a wedding planner adds to the chaos. However, certain characters appear abruptly and late in the story, leading to a sense that they were merely added as an afterthought. For instance, a guruji, portrayed by Hussain, introduces a subplot about a forgotten underground temple, as well as a mystical tree inhabited by a female spirit, hinting at a semblance of a coherent plot.
Unfortunately, the film suffers from significant flaws that it cannot overcome. The passage of time is evident, with Akshay, once the epitome of fitness, now appearing noticeably older compared to his co-stars. Jisshu Sengupta’s character, despite heavy gray dye, fails to convincingly portray Akshay’s father, while Mithila Palkar’s character embraces an overly superstitious family, culminating in a marriage to a tree. Additionally, Wamiqa Gabbi’s awkward romantic subplot feels forced and cringe-worthy.
The humor throughout the film is overly blunt, a common trait in Priyadarshan’s comedies, but it feels out of place now. The film relies on outdated stereotypes and risqué jokes that detract from the original “Bhool Bhulaiyaa,” which had a sharper commentary on superstition and its impact on women. Here, those themes seem tired and unoriginal.
Although Tabu makes a brief but impactful appearance, her time on screen is fleeting. The film soon delves into clichéd scenes involving rituals and battles against poorly rendered CGI demons, leaving viewers longing for the memorable ghosts in white saris from the previous film.
In conclusion, “Bhooth Bangla” features a cast that includes Akshay Kumar, Jisshu Sengupta, Mithila Palkar, Wamiqa Gabbi, Bhavna Pani, Rajpal Yadav, Paresh Rawal, Asrani, Zakir Hussain, Tabu, and Manoj Joshi, all under the direction of Priyadarshan. The film has not fared well critically, receiving a rating of just 1.5 stars.
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