Creating a comedy franchise in Bollywood is easy, but making people laugh years later is a challenge. 'Dhamaal' was one of those rare films that proved in 2007 that audiences could be made to laugh uproariously without double-entendre jokes, heavy emotional speeches, or complex plots requiring mental gymnastics. Then came 'Double Dhamaal' (2011); true to its name, it doubled the noise but failed to double the laughter. 'Total Dhamaal' (2019) saw an increase in stars, budget, and even animals... yet the comedy didn't scale up in the same way. Now, in 2026, 'Dhamaal 4' has arrived. The treasure remains the same old one; the only difference is that the audience spends more time trying to find the story than the characters spend finding the treasure. And even by the end, that story remains elusive.

Story
The film opens with Adhura (Ravi Kishan), who fancies himself the greatest pirate of the seas. His style makes it seem as though a Bhojpuri remake of 'Pirates of the Caribbean' has kicked off without a care for copyright issues. Amidst this, a clue regarding an ancient treasure surfaces, the key to which lies hidden in the memories of Prithvi (Upendra Limaye). Prithvi reveals the secret of the treasure, but the information doesn't stay confined to Guddu (Ajay Devgn). Adi (Arshad Warsi), Manav (Javed Jaffrey), Lallan (Riteish Deshmukh), along with two women and two children, join the race. They all set off for a mysterious island marked by a giant 'M', where chaos and a mad scramble await them—far more than the treasure itself. From this point on, the film keeps racing forward... yet the story appears to be standing completely still.

Acting
Looking at the cast, it seems the makers placed more faith in their star power than in the script... and if the film manages to hold its ground at all, it is solely due to that star cast. Ajay Devgn appears at ease in his signature style, while Arshad Warsi and Javed Jaffrey salvage several lackluster moments with their comic timing. Riteish Deshmukh is adequate in his playful avatar, and Sanjay Mishra and Ravi Kishan command attention despite their limited screen time. Anjali Anand makes a solid impression... though, ironically, her character—played by an actress who speaks out against body-shaming—is repeatedly subjected to the very same kind of jokes.

The fault lies not in Anjali's acting but in the script, which still relies on stale, lazy jokes. Meanwhile, Sanjeeda Sheikh delivers a competent performance within the limited scope she is given. Esha Gupta, on the other hand, has so little to do that it seems she was sent a call time rather than a script. Overall, the cast sincerely tries to hold the film together, but when the script repeatedly fails them, it is difficult to save the entire movie on the strength of performances alone.

Direction
Indra Kumar’s direction suggests his primary vision was simply to replicate what worked 19 years ago. Instead of offering new ideas or a fresh comic approach, the film repeatedly leans on old formulas and nostalgia. At times, it feels as though the filmmakers equate noise with comedy, while the story merely serves as a bridge to the next gag. The direction relies less on generating genuine laughter and more on the assumption that the *Dhamaal* brand name will do half the work.

VFX
The film's VFX suggest that the makers were more interested in testing the audience's patience than in delivering an adventure. While every frame attempts to convey a grand scale, the result is that many scenes resemble unfinished computer projects rather than a feature film. The use of green screens is glaringly obvious in places, drawing attention away from the characters and toward the background. Furthermore, some CGI shots are so reminiscent of video game cutscenes that one wouldn't be surprised to mistake them for one. All in all, instead of elevating the story, the VFX repeatedly remind you that you are watching a computer-generated world rather than a film. One did not expect such VFX from a big-budget movie. In many instances, the visuals feel less like an integral part of the film and more like a distraction for the audience.

PC Social Media