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

Bha. Bha. Ba. (Bhayam, Bhakthi, Bahumanam) is a loud, knowingly over‑the‑top Malayalam action‑comedy that puts three very different men on a collision course inside one sprawling “mass” universe. Dileep plays a small‑time operator trying to punch above his weight, while Vineeth Sreenivasan and Dhyan Sreenivasan turn up as forces that constantly push, expose and complicate his plans.

The film sells itself on one promise: no logic, only madness. But underneath the fireworks, it’s still about three ideas in the title , fear, devotion and respect , and how they’re used and misused in a world where everyone is performing for someone.

Story, setup and tone

The narrative is split across three interlinked tracks. Dileep’s character, Balan, is a street‑smart fixer who has built a reputation on fake “devotion” and borrowed “respect.” Vineeth plays a soft‑spoken but sharp content creator whose viral videos start peeling the polish off people like Balan. Dhyan, as Godson Ancharakandy, is a hyperactive attention‑seeker who will do anything to stay in the frame.

These tracks intersect when a staged devotional stunt meant to boost Balan’s standing goes catastrophically wrong. What should have been a controlled drama snowballs into a public spectacle, dragging politicians, godmen, cops and social media into one chaotic whirlpool.

Tonally, the film never stays still. One minute it’s spoofing mass cinema clichés, the next it’s staging full‑blown slow‑motion fights or drenched emotional speeches. The idea is to constantly keep the audience off balance, leaning hard into excess.

Performances and characters

Dileep leans into his familiar strengths: elastic expressions, manic energy and an instinctive sense of how to ride a crowd’s mood. His Balan is morally slippery but rarely hateful. You’re meant to laugh at his desperation as much as at his schemes, and Dileep sells that mix.

Vineeth’s role sits at an interesting angle. On the surface, he’s the calm foil to all the noise , the man with a mic who claims to show “truth” to his followers. But the script allows you to see his blind spots and ego, especially when he realises that exposing people has its own addictive high.

Dhyan’s Godson is pure chaos injection. He plays the guy who sees life as one long clip reel, constantly performing for cameras, cops, crowds , whoever’s watching. His rivalry with Vineeth’s character, half ideological and half petty, gives the film some of its funniest stretches.

Around them is a stacked supporting cast , cops, priests, political fixers, family members , each dialed up to eleven. They’re less people and more caricatures, but that’s by design; this is a cartoonish world.

Direction, writing and craft

Debutant director Dhananjay Shankar approaches Bha. Bha. Ba. like a playground. Frames are busy, edits are fast, and every scene tries to have at least one visual or verbal gag. The camera rarely rests. It’s constantly tracking, circling or crashing in, matching the movie’s self‑advertised “madness.”

The writing, by Fahim Safar and Noorin Shereef, is packed with references, winks at other films and industry in‑jokes. Some land brilliantly , especially the way it spoofs big hero build‑ups, “mass” entries and fake humility in interviews. Others feel forced, as if the film is afraid of leaving any moment unstuffed.

On the technical side, Shaan Rahman’s songs are built like crowd chants, with hooks that repeat until they stick. The background score in the action portions goes big and brassy, pushing every punch and slow‑mo walk. Cinematography leans on saturated colours, lens flares, and stylised lighting for stage shows and rallies.

What works

The central trio is well cast. Putting Dileep between Vineeth and Dhyan, who come from a different school of humour and performance, gives the film a constant push‑pull energy.
The film’s self‑awareness pays off. It knows it’s a spoof and doesn’t suddenly pretend to be “realistic” when convenient, which keeps the tone consistent even when the plot goes wild.
Several set‑pieces – a devotional event gone haywire, a courtroom‑style social media “trial,” and a late‑night mass fight at a temple festival – are staged with real comic and visual flair.
It does occasionally land punches on how easily fear, faith and respect are weaponised in public life, even if it rarely stops long enough to dig deeper.

Where it stumbles

Bha. Bha. Ba. often confuses loudness with impact. Jokes are repeated, slow‑motion struts go on a beat too long, and emotional scenes are underscored by music that tells you exactly what to feel. For some viewers, that will be fun; for others, exhausting.

The revenge/plot spine designed to tie all three characters together in the final act isn’t as strong as the individual episodes. When the film finally reveals why Balan ended up here and what the “big plan” was, it feels more functional than satisfying.

Because everything is heightened, quieter emotional beats don’t always land. There are flashes , a moment when Balan faces his own hypocrisy, a brief crack in Vineeth’s confident persona , but they’re quickly drowned in the next explosion of comedy or action.

Audience connect and impact

For fans of broad Malayalam commercial comedies and meta references, Bha. Bha. Ba. is a noisy buffet. It gives you hero worship, self‑parody, inside jokes and fan‑service cameos, all wrapped in a “world of madness” that never apologises for going too far.

For viewers who want tighter storytelling or a cleaner satire, the film might feel like three good ideas fighting inside one overstuffed screenplay. You can see the sharper movie hiding inside, but the team clearly chose volume over subtlety.

Overall verdict

Bha. Bha. Ba. (2025) is an unapologetic, chaotic mass entertainer that throws Dileep, Vineeth and Dhyan into a blender of spoof, action and noisy drama, then hits max speed and never really slows down. It’s messy and often excessive, but when the humour and performances click, it delivers exactly the kind of “no logic, only madness” ride it promises.

If you walk in expecting nuance, you’ll be frustrated. If you’re in the mood for a loud theatrical experience with three leads going fully unrestrained, it does the job.

Rating: 3.4/5