Bazooka (2025) Review: Mammootty Shines in a Stylish but Uneven Action Thriller
Bazooka (2025), directed by debutant Deeno Dennis, is an ambitious Malayalam action thriller that dares to blend gaming motifs with traditional crime drama. With Mammootty leading the charge as a mysterious ethical hacker named Antony John, and Gautham Vasudev Menon playing a stoic ACP Benjamin Joshua, the film sets out to deliver a stylized, high-concept experience. While it hits some stylish highs and delivers a fan-pleasing climax, it fumbles in key areas that stop it from becoming truly explosive.
The story kicks off in Kochi, where a series of murders disturbingly mirror scenarios from the popular online game PUBG. Assigned to the case is ACP Benjamin Joshua, a composed and intelligent officer. He enlists the help of Antony John, a businessman with a shadowy past and a knack for hacking. What follows is a pursuit that’s meant to be tense and cerebral, peppered with action, mystery, and digital warfare. The premise is unique and teeming with potential, but the film’s commitment to a sleek presentation often overshadows narrative depth.
Mammootty is, without question, the film’s saving grace. He dominates the screen with a magnetic presence, bringing layers of intrigue and controlled fury to his character. His performance, especially in the climax, is intense, stylish, and loaded with gravitas. It’s a role that plays to his strengths—silent menace, intellectual authority, and explosive action. Gautham Vasudev Menon is effective in his role, though his character lacks development. Shine Tom Chacko, Divya Pillai, and the rest of the supporting cast are largely ornamental, serving as plot devices more than fleshed-out individuals.
Director Deeno Dennis clearly has a vision, and he’s not afraid to flaunt it. Every frame of Bazooka drips with stylization—from slick lighting and set pieces to moody background scores. However, the screenplay falters under the weight of its own ambition. The first act starts strong, the final act is riveting, but the middle stretches are plagued by predictability and sluggish pacing. Attempts at twists don’t land with the intended shock, often because the build-up lacks clarity or emotional investment.
On the technical front, the film shines. Nimish Ravi’s cinematography is top-tier, capturing the grit of Kochi and the glossy interiors with equal finesse. Saeed Abbas’s music complements the film well, especially during action sequences and crucial reveals. The VFX and action choreography, while not groundbreaking, are polished and effective, particularly in the final 20 minutes where the film finally roars to life.
Despite the flashy packaging, Bazooka is ultimately weighed down by its writing. It wants to be both a character-driven thriller and a stylized spectacle, but it never fully commits to either. Critics have pointed this out, calling the film “a hollow thriller dressed in a glossy jacket.” Yet for Mammootty fans, the film delivers a satisfying high in the end, largely due to his multifaceted performance and the adrenaline-fueled climax.
Audience reception has been more forgiving, with many fans applauding Mammootty’s portrayal and the film’s attempt to innovate within the genre. Social media reactions range from “mass meets class” to “predictable but engaging.” It’s the kind of film that plays well to a crowd eager for star power and visual flair but leaves cinephiles and critics craving more depth and coherence.
In conclusion, Bazooka is a bold but uneven thriller. It fires on a few cylinders—mainly Mammootty, stylish cinematography, and a punchy climax—but fizzles in others, particularly narrative pacing and character development. It’s a decent one-time watch, especially if you’re a Mammootty enthusiast, but it won’t be remembered as a genre-defining moment.
Rating: 2.5 out of 5
(+1 for Mammootty, +0.5 for climax, +0.5 for technical finesse — minus 1 for weak screenplay, minus 1.5 for pacing and narrative depth)
