Maa Movie Review: A Flawed but Fascinating Step into Bollywood’s Horror Universe

Image Source- Bollywood Hungama 

Bollywood and horror have always had a complicated relationship. For decades, we got campy ghost stories, recycled jump scares, and the occasional Ramsay Brothers’ cult classic. Then, a film like Shaitaan comes along and suddenly the conversation shifts, and audiences are ready for a more serious, mythology-driven kind of horror. And let’s be real, it’s about time Bollywood stopped treating horror like a side-show. Into this space arrives Maa, a film that dares to mix folklore, grief, and supernatural terror, with Kajol at its emotional core.

On the surface, it’s another haunted-village tale, but look closer and you’ll see the film reaching for something bigger. It wants to create a cinematic universe where Indian myths and personal trauma collide, where demons aren’t just supernatural, they’re reflections of our deepest fears. That ambition is what makes Maa so fascinating, even if the execution doesn’t always keep up. It’s unsettling, uneven, and at times messy, but it’s also one of the most intriguing attempts Bollywood has made to reimagine horror for today’s audience.

A Haunting Tale of Folklore and Family

The film wastes no time pulling you into its world. We meet Ambika (Kajol), a grieving mother reeling from the sudden death of her husband. Searching for stability, she takes her daughter to his ancestral village, a place shrouded in superstition, rituals, and whispers of an old curse that refuses to die. The village itself feels like a character in a haunted house, with creaking doors, forests where shadows stretch too long, and an atmosphere where even silence carries weight. You know that creepy hush in villages at night? Maa nails that vibe.

For much of the first half, Maa thrives in this space. The psychological tension is sharp, and the sense of folklore-driven dread is strong. You genuinely feel like the village is stuck in a cycle of fear, unable to break free from its mythology.

What also works is how the film weaves emotional horror into the supernatural setup. Ambika’s fragile bond with her daughter, the judgmental stares of the villagers, and the oppressive weight of ritualistic traditions add a very human layer to the story. Ronit Roy’s character deepens this further; he becomes both a guide and a skeptic, someone who knows more about the curse than he lets on. His presence adds gravity, hinting that the village’s secrets are darker than they appear.

But when the second half rolls around, things start unraveling. What began as an atmospheric, eerie tale slowly drifts into melodrama, clunky CGI, and predictable horror tropes. The film tries to be a mythological thriller, a supernatural drama, and an emotional family story all at once, but that ambition leaves it scattered. It’s clear what the makers were aiming for, but the execution doesn’t always land.

Kajol Shines, but What About the Rest?

Kajol carries Maa on her shoulders, and she does it with remarkable command. As Ambika, she isn’t just a grieving widow; you see her cycle through sorrow, denial, suspicion, and finally raw determination. There’s an earthy authenticity in the way she portrays a mother torn between fear and fight, and it makes you invest in her journey even when the story falters. Honestly, if this film works at all, it’s because Kajol refuses to let it sink.

Ronit Roy, though not heavily used, is a steady presence. As the relative who knows more about the village’s dark past than he lets on, he plays the part with quiet restraint. His performance doesn’t scream for attention, but it lingers, grounding the supernatural elements with a sense of lived-in fear.

The young actress playing Ambika’s daughter delivers with innocence and vulnerability, making the mother-daughter dynamic the emotional backbone of the film. Their bond feels natural, and some of the most effective moments in Maa come from this relationship rather than the jump scares.

The ensemble of villagers rounds out the picture well. They embody the suspicion, superstition, and paranoia of a community trapped in old rituals. Even if not all performances stand out individually, together they create a suffocating, mistrustful environment that adds weight to the folklore-driven dread.

Where Grief Meets Myth and Motherhood

What makes Maa engaging, even when it falters, is the way it tries to fuse personal grief with cultural mythology. At its heart, this isn’t just about ghosts and curses; it’s about Ambika carrying her trauma while fighting to protect her daughter. The folklore feels symbolic, almost like grief itself is a curse passed down through generations, making the story more layered than a regular horror flick. It’s less about cheap thrills and more about the stuff that stays with you, like grief you can’t shake off.

The issue is that these themes don’t always blend well with the horror. The depth and atmosphere sometimes get pushed aside for familiar jump scares or melodrama that feel out of place. The film clearly aims to deliver both emotion and terror, but the uneven execution keeps it from reaching its full potential.

Still, the attempt to weave myth and emotion together is bold, and that’s what makes Maa stand out even when it stumbles. It may not fully hit the mark, but it leaves you thinking about the ideas behind the scares, and that lingers longer than the jump scares themselves.

Strong Atmosphere, Shaky Execution

Director Vishal Furia clearly knows how to set the mood. The first hour of Maa is dripping with eerie visuals, haunting silences, and clever sound design that makes you second-guess every shadow. The background score works overtime to keep you on edge, and for a while, it succeeds.

But then come the cracks. The monster design and CGI feel unpolished, and sequences that should’ve been terrifying sometimes land awkwardly, almost cartoonish. The editing also wobbles the pacing is uneven, with the first half simmering slowly and the second half suddenly rushing through key reveals. It leaves you wishing the film had been tighter, scarier, and less reliant on familiar horror shortcuts.

In the end, you can see the vision, but the execution doesn’t fully rise to meet it. Maa has the atmosphere of a great horror film, just not the consistency to stay there.

Final Verdict: More Heart Than Horror

So where does Maa stand in Bollywood’s slowly evolving horror-mythology space? Honestly, somewhere in the middle. If you’re expecting a terrifying, edge-of-your-seat horror movie, you might walk away disappointed. But if you’re watching for Kajol, you’re in for a performance that elevates the film far beyond its flaws.

Maa is ambitious, emotional, and atmospheric, but not consistent. It feels like a bold idea that wasn’t fully realized on screen. Sometimes it grips you, sometimes it frustrates you, but it never leaves you indifferent. And maybe that’s the point, it’s less about jump scares and more about making you feel.

As a step forward in Bollywood’s horror space, Maa is fascinating even if it’s flawed. And with Kajol leading the way, it’s still a film worth watching, if only to see how Bollywood continues experimenting with horror and mythology.

Also, if you’re into grounded film thoughts, underrated thriller picks, or just plain honest recommendations, I’m over on Instagram: @bingewatch_perspective. That’s where I post quick recaps, hot takes, and those offbeat gems you might’ve missed. 

P.S.  If you’re in the mood for something completely different after Maa, check out my review of the K-drama Law and the City, a stylish mix of courtroom drama and city politics that’s just as gripping in its own way.

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