Bha. Bha. Ba. (2025) REVIEW ft. Dhyan, Dileep, and Vineeth

Bha Bha Ba landed in cinemas on December 18, marking Dileep’s return after a turbulent period. The Malayalam action-comedy comes from first-time director Dhananjay Shankar, who assembled a strong cast that includes Mohanlal in a brief but memorable role. Joining them are Vineeth Sreenivasan, Dhyan Sreenivasan, Sandy, Balu Varghese, and Saranya Ponvannan.

The title breaks down to Bhayam, Bhakthi, Bahumanam – translating to Fear, Devotion, and Respect. These three pillars drive the story forward, attempting to blend commercial thrills with emotional depth. At 165 minutes, it aims to satisfy fans looking for a full-fledged theatrical experience during the holiday season.

The Story Setup

Three different people find their paths crossing in ways they never saw coming. The film builds its foundation on how fear shapes decisions, devotion challenges relationships, and respect becomes the ultimate currency. This isn’t groundbreaking territory, but the execution has its moments.

Fahim Safar and Noorin Shereef wrote the screenplay, keeping things moving between laughs and fights. Each main character embodies one element of the title. The film doesn’t hide its commercial DNA – it wears that badge proudly from the opening scene.

You can see where the story’s headed fairly early. The emotional moments try to add layers, though the multiple storylines sometimes trip over each other. I appreciated the attempt to give depth to standard commercial fare, even if it doesn’t always land smoothly.

What caught my attention was how the film breaks the fourth wall occasionally. Dileep’s character drops lines that feel aimed straight at us watching. His “comeback moment” line isn’t subtle – it’s direct and takes guts. Whether this works depends entirely on your tolerance for self-referential humor.

The Actors Deliver

Dileep owns his screen time. He moves between comedy and action without missing a beat. The comic timing that made him popular years ago still works. His chemistry with the Sreenivasan brothers creates genuine laughs. Those comeback lines? They’re calculated, and he knows exactly what he’s doing.

Vineeth Sreenivasan handles the emotional heavy lifting. His role requires sincerity, and he delivers that without going overboard. The scenes where he shares the frame with Dileep feel natural. He prevents the film from becoming all surface, no substance.

Dhyan Sreenivasan keeps the energy flowing. He fits the youthful role perfectly and nails the lighter moments. Mohanlal shows up briefly but makes it count. His dance number in the second half gets the theater buzzing. When he appears before the interval, you know something’s coming.

The rest of the cast – Balu Varghese, Baiju Santhosh, Saranya Ponvannan – they all contribute meaningfully. Sandy does more than just choreograph. Redin Kingsley brings the laughs when needed. Everyone seems comfortable with each other, which shows on screen.

The Wins

This film knows what it wants to be from frame one. I respect that clarity. The first half races along with back-to-back entertainment. The comedy clicks, especially when Dileep and the brothers share scenes. No pretense, just straightforward crowd-pleasing.

Armo’s camera work looks sharp. The action sequences are shot cleanly without shaky-cam nonsense. They filmed across Coimbatore, Pollachi, Kochi, and Perumbavoor – these locations add visual variety. The production doesn’t look cheap or rushed at any point.

Shaan Rahman and Gopi Sundar handle the audio landscape well. Songs that seemed questionable in isolation work better inside the film. The background score pumps up the mass moments appropriately. Mohanlal’s dance sequence is choreographed to perfection – it’s a crowd moment done right.

The guest appearances throughout feel planned rather than random. The ending pulls things together better than I expected after a stretched middle portion. That Ghilli reference works for Tamil cinema fans without alienating others.

The Misses

165 minutes feels long. Several sequences drag, particularly after the interval. The editor could have been more ruthless – tighter cuts would’ve helped the overall flow. I found myself checking time during certain portions, which isn’t ideal.

Predictability haunts this film. If you’ve watched Malayalam commercial cinema, you’re ahead of the story. While execution matters more than surprise in this genre, a few unexpected turns would’ve helped. The emotional beats follow the standard template almost mechanically.

Some humor feels dated. A few jokes should’ve been left in 2015. The action sequences, while clean, don’t innovate. They’re functional rather than memorable. Some fights go on longer than necessary without adding excitement.

“Azhinjattam” stands out as the weakest link musically. The song got criticized before release, and those criticisms hold up. In a movie leaning heavily on music for energy, this weakness shows. The song sequences generally don’t push the story forward.

How It’s Being Received

Reviews from critics split down the middle. Some call it solid entertainment and a worthy return for Dileep. Others find it too long and formulaic. Social media shows one reviewer giving it 3.75/5, praising the first half energy. Another called it “Entertainment Pro Max.”

Advance bookings crossed ₹1 crore before release, proving fans remained interested. That said, controversy shadows this release. Dileep’s recent legal verdict hasn’t been forgotten, and boycott calls have emerged. So far, it hasn’t severely damaged opening numbers.

Theater response from the target audience tilts positive. Families are coming out, and fans are supporting. The first half and Mohanlal’s cameo generate the most social media chatter. People are talking about the mass moments in particular.

Second half pacing complaints are common. Some viewers wanted more from the script. The self-aware moments divide people – clever to some, obvious to others. Public opinion on Dileep himself affects how people view the film, whether fairly or not.

The film’s legs will depend on word spreading organically. Initial signs show strength in traditional markets but softer reception in cities. Entertainment value is helping it push past some resistance, though the path forward remains uncertain.

Bottom Line

Bha Bha Ba accomplishes what it sets out to do – deliver commercial entertainment with stars and spectacle. The film works best when it stops trying to justify itself and just entertains. I enjoyed the first half considerably more than what followed.

The performances hold things together even when the script doesn’t. Dileep, the Sreenivasans, and the supporting players do their jobs well. Production quality hits theatrical standards comfortably. Still, the length, predictability, and risk-averse storytelling keep it from being memorable.

Malayalam commercial cinema fans and Dileep supporters will find value here. Those wanting something fresh or challenging should look elsewhere. It’s a competent genre piece that plays by the rules without rewriting them.

Rating: 3/5