There’s something about Indian palaces that just gets us. The grandeur, the silence, the “yeh haveli mein kuch toh gadbad hai” energy. And honestly, no one has tapped into that space better than Priyadarshan. This man practically built our childhood on chaos, confusion, and comedy that still lives rent-free in our heads. So when you hear he’s back, and he’s bringing along Akshay Kumar, Paresh Rawal, Rajpal Yadav, and the late Asrani into a haunted palace setup… You don’t ask questions. You just book tickets. And Bhooth Bangla? Yeah, it understands the assignment.

At its core, Bhooth Bangla is not trying to be something it’s not. It’s simple, rooted, and chaotic in the best way possible. You’ve got Akshay playing a good-for-nothing son drowning in debt (honestly, relatable energy), Mithila Palkar as the sister who just wants to marry the love of her life (even if it involves… a tree. Don’t ask, just watch), and Jisshu Sengupta as the father holding this circus together. Then comes the classic trigger: a family patriarch passes away and leaves behind a palace in North India. Enter Mangalpur. Enter secrets. Enter full horror-comedy madness.

Let’s be honest, we’ve missed this. That brand of comedy which doesn’t rely on memes, pop culture references, or trying too hard to be Gen Z. It’s situational, it’s character-driven, and it builds into absolute chaos. Priyadarshan doesn’t reinvent the wheel here. He just reminds you why his wheel worked in the first place. The jokes land. The gags build. And most importantly, the film breathes. It gives you time to laugh instead of shoving punchlines down your throat.

This is the Akshay we’ve been waiting for. Not the rushed, checkbox version. Not the “let’s wrap this in 40 days” energy. This is peak comic timing, Akshay Kumar. The physical comedy, the expressions, the pauses… It’s all there. He carries the film like he used to, and there’s a certain comfort in watching him just have fun again.

You already know what Paresh Rawal, Rajpal Yadav, and Asrani bring to the table. But what works here is that they’re not just there for punchlines. Their characters exist within the madness, and that’s what makes it funnier. It’s less about what they say and more about how they react to the absolute nonsense happening around them.

Mithila Palkar is genuinely a pleasant surprise. There’s a sincerity she brings that balances out the absurdity. It’s nice to see her step into a bigger, mainstream setup and not get lost. Jisshu Sengupta does what he does best — controlled, effective, and impactful even with limited screen time. Wamiqa Gabbi feels slightly underutilised, though. You can see the potential, but the writing doesn’t fully explore her arc. Still, she manages to leave a mark. And then there’s Tabu. Extended cameo. Maximum impact. She walks in, owns the space, and casually reminds everyone why she’s Tabu.

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Bhooth Bangla doesn’t try to be edgy or overly modern. And thank God for that. It takes you back to early 2000s Bollywood — the kind of films we grew up on — but it doesn’t feel dated. There’s a freshness in how it’s packaged, even if the soul is old-school. It’s funny without trying too hard. It’s spooky without being exhausting. And most importantly, it feels like a theatrical experience.

Bhooth Bangla is a comfort cinema with a haunted twist. It’s messy, loud, nostalgic, and genuinely entertaining. It reminds you why we fell in love with this genre in the first place. And in a time where everyone is chasing trends, this film just sticks to good old storytelling and wins. The casting of Akshay Kumar returning to a Priyadarshan “haunted palace” setup—especially with the Paresh Rawal and Rajpal Yadav trinity—is basically the cinematic equivalent of a warm hug for fans of Bhool Bhulaiyaa, which is why you cannot miss this one.

3.5 stars. Watch it in a theatre. With a full crowd. Trust me, it hits different.

The post Bhooth Bangla Review: Priyadarshan And Akshay Kumar Bring Back The Madness We Actually Missed! first appeared on MissMalini.