‘Dhamaal 4’ Review: A Laughless Treasure Hunt That Buries Comedy Under Mindless Chaos

Team Maverick Rating: ★☆☆☆☆ (1/5)

Hyderabad, July 2026 : The Dhamaal franchise once carved a niche for itself by delivering harmless, over-the-top comedy with an ensemble cast that thrived on timing and chemistry rather than logic. Unfortunately, ‘Dhamaal 4’ mistakes loudness for humour and endless chaos for entertainment, resulting in one of the weakest comedy films in recent memory. Instead of evoking laughter, the film leaves audiences exhausted with its relentless barrage of slapstick gags, repetitive situations and juvenile comedy that rarely lands.

Directed by Indra Kumar, Dhamaal 4 reunites the familiar gang of Ajay Devgn, Riteish Deshmukh, Arshad Warsi, Jaaved Jaaferi, and Sanjay Mishra, who embark on yet another treasure hunt. This time, the elusive fortune belongs to the infamous Shaitaan Singh, who hid his loot beneath an “M”-shaped mountain after robbing a British ship years ago. Predictably, multiple groups race to claim the treasure, battling dangerous forests, rough seas, wild animals and a series of exaggerated obstacles along the way. Ravi Kishan joins the madness as the eccentric pirate-inspired Adhoora, adding to the film’s already overcrowded narrative.

The biggest problem with Dhamaal 4 is its almost non-existent storyline. The script serves merely as an excuse to string together one slapstick sequence after another without any meaningful progression. Every few minutes, someone slips, falls, gets electrocuted, is hit on the head, attacked by wild animals or hangs precariously from digitally created cliffs and buildings. Rather than building clever comic situations, the film depends almost entirely on physical mishaps and repetitive visual gags.

Much of the action unfolds against obvious CGI backdrops that rob even the adventure sequences of excitement. Giant octopuses, crocodiles, collapsing bridges, balloons and impossible action sequences are all presented with cartoonish visual effects that diminish any sense of realism or suspense. Without its constantly blaring background score, many scenes resemble a bizarre survival thriller more than a comedy.

The film also suffers from a severe shortage of genuinely funny moments. Comedy is often about surprise, timing and wit, but Dhamaal 4 relies almost exclusively on outdated slapstick routines that have long lost their novelty. Banana-peel slips, people getting struck in sensitive places, exaggerated falls and repeated injuries dominate the narrative. The jokes become predictable within minutes, making the nearly two-hour runtime feel considerably longer.

The talented cast does little to rescue the material. Ajay Devgn, Arshad Warsi, Riteish Deshmukh, Jaaved Jaaferi and Sanjay Mishra have all demonstrated exceptional comic timing in previous films, but here they appear trapped inside an unimaginative screenplay that gives them little room to improvise or create memorable moments. Ravi Kishan brings some energy to his eccentric character, but even his efforts cannot compensate for the lack of originality in the writing.

One of the film’s biggest disappointments is the way it handles its female characters. Sanjeeda Shaikh and Anjali Anand are given roles that contribute very little to the story and exist largely as props for outdated jokes. Sanjeeda’s character spends much of the film becoming a victim of accidents and rescue situations, from being trapped inside a car trunk to dangling from buildings and enduring bizarre encounters with CGI creatures. Rather than giving her agency or meaningful participation in the adventure, the screenplay repeatedly places her in situations where she merely waits to be rescued.

Similarly, Anjali Anand’s character is reduced to the target of repetitive body-shaming humour. Many of her scenes revolve around jokes about her weight, with the screenplay repeatedly using physical appearance as a source of comedy instead of allowing the character any depth or individuality. Such humour feels dated and insensitive, especially at a time when audiences increasingly expect stronger and more respectful representation of women in mainstream cinema. The film misses a valuable opportunity to create well-rounded female characters who could have actively contributed to the story rather than simply serving as vehicles for cheap laughs.

Another weakness is the film’s overdependence on nostalgia. Instead of creating fresh comic situations, Dhamaal 4 constantly references earlier films in the franchise and throws in callbacks to classic Bollywood moments, including nods to Ajay Devgn’s iconic Phool Aur Kaante. These references feel forced and are unlikely to generate laughs unless audiences are willing to forgive the lack of new ideas.

The film also highlights a worrying trend in contemporary Bollywood comedies—the decline of intelligent humour. Earlier ensemble comedies often relied on witty dialogue, situational misunderstandings and strong performances to elevate simple stories. Here, comedy is reduced to exaggerated physical mishaps and endless shouting, leaving little room for clever writing or memorable punchlines.

Despite boasting a star-studded cast and the familiarity of a successful franchise, Dhamaal 4 fails to recreate the charm that made its predecessors enjoyable. The film’s weak script, repetitive slapstick, uninspired visual effects and outdated humour outweigh the occasional amusing moment.

In the end, Dhamaal 4 feels less like a comedy and more like a chaotic collection of disconnected skits stitched together by a treasure hunt that never becomes engaging. It is a film that mistakes noise for entertainment and quantity for quality, leaving audiences searching for laughs that rarely arrive.

Team Maverick Rating: ★☆☆☆☆ (1/5)

For a franchise once known for delivering light-hearted fun, Dhamaal 4 is a disappointing outing that buries its comic potential beneath tired jokes, excessive slapstick and an unimaginative screenplay. Unless you are a die-hard fan of the series, this treasure hunt is one you can safely skip.

Disclaimer: This review is based on the reviewer’s individual perspective. Audience opinions may vary.