‘Maa’ Review: Kajol Headlines a Mythological Horror That’s Light on Logic and Short on Scares

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The biggest pleasure in Maa (Mother) is watching Kajol kick ass.

For more than three decades, the actor has been known for portraying diverse roles ranging from every boy’s dream girl (Simran in Diwale Dulhania Le Jayenge) to a truly menacing villain (Isha in Gupt). However, opportunities for her to showcase action-packed performances have been relatively scarce.

In this story, Kajol’s character, Ambika, takes on the role of a protective mother, similar to Liam Neeson in the film “Taken,” but with a supernatural twist. Instead of a high-stakes city backdrop, the action unfolds in a chilling village named Chandanpur near Kolkata, India. When the demon Doito threatens her 12-year-old daughter Shweta (Kherin Sharma), Ambika shows her fierce resolve by unleashing a terrifying display of supernatural powers.

In the universe initially introduced by the 2024 film “Shaitaan,” Maa serves as the second installment. At its conclusion, Kabir (Ajay Devgn, also a producer for Maa) offers the insight, “To truly grasp the essence of strength, witness a mother’s struggle for her child. Across the entire cosmos, there is no deity stronger than a mother.” This thought may have sparked the creation of this spinoff. However, while Kajol delivers a powerful portrayal of the divine feminine, symbolized by the name Ambika, which shares similarities with the goddess Durga, I can’t help but feel that the movie could have showcased more of her fierce spirit.

The film is helmed by Vishal Furia and penned by Saiwyn Quadras, with Furia’s expertise in horror evident from his previous works like “Chhorii” and its sequel. However, this project marks a shift for Quadras, who is recognized for biographical films such as “Neerja” and “Mary Kom”. In this instance, Quadras reimagines the story of Kali Maa and Raktbeej, a powerful demon capable of reproducing from every drop of his spilled blood. The concept of transforming a captivating religious myth into contemporary horror is intriguing theoretically. Unfortunately, in practice, it fails to deliver the expected impact.

In horror films, logic often takes a backseat, making it unusual to question why Ambika brings Shweta to Chandanpur, given its ominous past, or her decision to stay there amidst the bizarre occurrences. The characters in these movies usually don’t depart from haunted locales when they probably should. However, we willingly overlook this inconsistency as part of the genre’s appeal. What proves more challenging to accept are the scarcity of frightening moments and the slow tempo.

The movie “Shaitaan” was held together by a strong narrative, where an unfamiliar figure returns home to claim a young girl. Notably, R. Madhavan delivered an enticing portrayal as the central antagonist, his twisted enjoyment of tormenting the girl and her parents serving as an intriguing spectacle itself.

In the film “Maa“, the weak antagonist is like a yawning chasm amidst the impressive visual effects and music score. Despite his menacing appearance, Doito lacks any real threat or fear-inducing presence. Instead, I found myself imagining him as a more agitated and tree-like version of Groot from the Guardians of the Galaxy series. However, there’s barely any character development here, and his lines are unremarkable. For instance, in one scene, he tells a man, “Your heart is black. You could be useful to me.” This dialogue feels forgettable.

The narrative unfolds gradually and intricately, featuring human sacrifices, Kali Puja, a grand mansion with thirty rooms. Notably, if you’re interested, the use of such large Bengali mansions in horror is exceptionally well done in Anvitaa Dutt’s Bulbbul.

In terms of similarities, Maa shares some elements with Rosemary’s Baby, including feminist undertones that might resonate with the Stree series. Additionally, certain scenes in the climax bear a striking resemblance to moments from Shaitaan. However, unlike Furia’s effective use of sugarcane fields in Chorii, the forest in this production lacks authenticity and fails to instill fear.

There are a few fun jump scares — but little that chills or thrills.

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2025-07-03 00:54