Maa Movie Review: Kajol and Her Daughter Shine in an Otherwise Lacklustre Horror Drama

Set in a small West Bengal village, “Maa” follows Shuvankar (Indraneil Sengupta) and Ambika (Kajol) as they reluctantly agree to their daughter Shweta’s (Kherin Sharma) wish to visit their ancestral home, a place they’ve long avoided due to a hidden “truth.”

The film’s initial half builds promise, hinting at a gripping, intimate horror experience. However, post-interval, the narrative unravels, abandoning logical coherence—even within the bounds of supernatural fantasy. The plot introduces absurd concepts, such as a creature abducting pubertal girls and returning them infertile, defying basic biological understanding.

The climax is equally perplexing, with Ambika, imbued with divine strength, still inexplicably vulnerable to the spirit’s attacks. Unexplained plot points, like Bimal’s sudden speech and subsequent murder, further weaken the narrative. The film’s core curse story descends into absurdity after the evil force is supposedly vanquished, culminating in a ridiculous final sequence between Ambika and Shweta. It’s surprising that Saiwyan Quadras, known for strong scripts like “Mary Kom” and “Neerja,” is credited with this convoluted story.

Star Performance:

Kajol delivers a superb performance as the tormented yet resolute mother, anchoring the film with her unwavering strength. Without her, the movie would be a complete disaster. Kherin Sharma is adequate as the daughter, but Rupkatha Chakraborty shines as Deepika. Dibyendu Bhattacharya provides a skilled cameo, while Indraneil Sengupta and Ronit Bose Roy offer competent support.

Direction and Music:

Director Vishal Furia, known for his mediocre “Chhorii” franchise, fails to elevate “Maa” despite the presence of a star like Kajol and the rich potential of mythological themes. The film relies on generic horror tropes and excessive VFX, resulting in a distinct lack of genuine scares. The songs, even with contributions from Shreya Ghoshal and Usha Uthup, are forgettable, and Amar Mohile’s background score is merely passable.

The Last Word:

“Maa” is recommended only for die-hard horror fans and Kajol’s admirers. While Kajol’s powerful performance is commendable, it’s overshadowed by a weak script and uninspired direction. One hopes to see her in projects with more substantial content that truly challenge her impeccable talent.