Dhoomakethu movie review: A quirky time-loop comedy that gets stuck in a loop of its own - The Indian Express

Dhoomakethu movie review: Throughout director Sudhi Maddison’s Dhoomakethu, we constantly hear various characters say that Lathin Kumar alias Kuttan (Sajin Gopu) has finally found a woman who wants to marry him after significant difficulties. Even Kuttan reminds himself of this far too often. Yet, not just because of that, but he is also extremely happy that he eventually found someone as gorgeous as Sharmila (Nikhila Vimal), who genuinely loves him. He is elated that he gets to marry her. But the issue is that he only gets to tie the knot with her, not lead a peaceful life together.

Yes, he is caught in a time loop. He doesn’t know how or why, but on their nuptial night, right before consummation, some masked figures appear out of nowhere, kill him, and take her away. Once dead, he wakes up on his bed — on the morning of their wedding — and relives the entire day only to be killed at night again. Repeat.

Although there are numerous time-loop movies across various genres and sub-genres, it’s not surprising that director Harold Ramis’ Groundhog Day (1993) tops nearly all the lists discussing the best movies featuring this plot device. Groundhog Day doesn’t shock us at every turn like Triangle (2009) or keep us at the edge of our seats like Edge of Tomorrow (2014).

Yet, what makes it stunning is that it feels very personal and relatable. It doesn’t transport us into an unfamiliar environment. Instead, it makes us feel trapped in a time loop in our own world, in our own chair. By the time the movie ends, Phil Connors (Bill Murray) and Rita Hanson (Andie MacDowell) are our friends, and we are glad that the former broke the loop to lead a happy life with her.

“Ever since I was a kid, the first thing that comes to my mind when I hear the word ‘marriage’ is the nuptial night,” Kuttan tells Sharmila right before his first death. Hence, one can imagine how frustrated he must be to be caught in a predicament where he knows nothing will happen between them, despite both wanting it.

Much like Groundhog Day, Dhoomakethu is also set in a very relatable environment. Whether it’s Kuttan’s house or the people around him — or even him — we have seen versions of them in our day-to-day lives. His annoying uncle (Niyas Backer), his stern mother (Manju Pillai), and his ride-or-die friend (Ganapathi) — we have all seen them somewhere, in some form, before.

Writers Sonny and Manu not only create the world well but also slip the story into the time-loop zone quite effortlessly. They don’t make elaborate arrangements or inflate the narrative unnecessarily to achieve this. The movie opens with a song reminiscent of those usually found in films featuring yesteryear actor Raveendran, evoking the vibe of shady Kerala disco bars of the 1980s.

Then it takes us straight into Kuttan’s world, showing in detail what happens on his wedding day — which he, along with us, has to relive again and again.

However, the script falters in its lack of clarity on how to develop its high concept further. Even after it’s clear that Kuttan is caught in a time loop, the movie doesn’t use judicious jump cuts to tighten the fantasy comedy; instead, it repeatedly shows the same situations to emphasise a point we understood long ago.

Although the scenes are fun and filled with ample humour, Dhoomakethu struggles to build the tension that highlights the labyrinth Kuttan is trapped in, both physically and mentally. While it tries to use the moments following Kuttan waking up in bed after each reset for this purpose — much like Happy Death Day (2017) and SJ Suryah’s story in Maanaadu (2021) did — it doesn’t land the way the makers intend.

When Kuttan says, “Who knows if it’s just me,” we might think there’s someone else out there facing the same issue. But there isn’t, which makes the dialogue pointless.

Another major issue is that the movie focuses squarely on Kuttan and little else. Despite having enough space for the Kuttan-Sharmila love story to develop amid the chaos, much like how director Max Barbakow’s Palm Springs (2020) did, or to provide proper arcs for other characters, the fantasy comedy remains centred solely on the male lead and the events that keep repeating. As a result, even Sharmila’s character feels underdeveloped, with her actions and reactions often seeming unfounded.

For instance, the movie portrays Kuttan and Sharmila’s wedding far too many times, despite a lack of material in director Sudhi Maddison and the writers’ hands to make it lively and engaging, leaving us weary of experiencing it over and over again.

If Dhoomakethu had more impactful humour, these flaws might not have been so obvious. Instead, the makers add too many uninspired jokes, such as Kuttan catching a man lurking behind their home to record his consummation, followed by him revealing that the pervert belongs to a channel notorious in real life for capturing and selling celebrity wardrobe malfunctions — all this simply to take a swipe at paparazzi.

Even though writers Sonny and Manu could have avoided explanations for the time loop, they throw in a comet for no reason that adds nothing to the narrative.

Dhoomakethu is also marred by misogyny, with those around Sharmila attempting character assassination. Since the movie wouldn’t have turned out any different if these scenes had been removed, this unnecessary slandering only diminishes its quality. At one point, we see Kuttan regret his decision to marry Sharmila without checking her past, even though he and his family hid his own criminal past from the bride. The movie unnecessarily adds humour to stalking and romantic coercion, along with its tasteless jokes about Kuttan’s appearance, are also problematic.

Besides, the villain (Shine Tom Chacko) and his connection to everything happening in Kuttan’s life feel overly convenient and hastily written, and they fail to impress. While the climactic fight, which shares a similar spirit with Bachelor Party (2012) and Kaithi (2019), appears exciting, the abrupt way the story reaches that point diminishes its potential.

Nonetheless, Sudhi Maddison tries his best to keep the movie engaging throughout, especially in the humorous moments, and succeeds to an extent. Although Ankit Menon’s music is good, it doesn’t quite elevate the scenes beyond a certain point. Vivek Harshan’s editing is solid.

While Sajin Gopu and Nikhila Vimal shine, Ganapathi steals the show with his appearance and body language, commanding attention whenever he is on screen. Sajin Gopu manages here what he couldn’t achieve in Painkili (2025), handling the humour well in a way that suits him, almost making Kuttan appear like the pookie version of Ponman’s (2025) Mariyano.

Dhoomakethu movie cast: Sajin Gopu, Nikhila Vimal, Ganapathi, Shine Tom Chacko, Sidharth Bharathan Dhoomakethu movie director: Sudhi Maddison Dhoomakethu movie rating: 2.5 stars

Anandu Suresh is a distinguished Deputy Copy Editor at The Indian Express Online, where he serves as a leading voice in cinematic critique and industry analysis. He is a Tomatometer-approved film critic and a Golden Globes voter. With over seven years of rigorous experience in the media landscape, he has established a reputation for incisive, long-form commentary that bridges the gap between commercial cinema and arthouse narratives. Experience & Career Anandu’s professional journey is rooted in a deep academic and practical foundation in the humanities and communication. He holds a Bachelor's degree in English Language and Literature and a PG Diploma in Journalism and Communication. Before ascending to his current editorial leadership role at The Indian Express, he honed his skills on the news desk of The New Indian Express in Hyderabad. His career is marked by a transition from core news operations to specialised cultural journalism, allowing him to bring a structured, news-oriented rigour to the entertainment beat. Expertise & Focus Areas While Anandu’s portfolio spans the global cinematic landscape, he is widely regarded as an expert in Malayalam Cinema. His unique approach to film criticism is defined by: Cinema Anatomy: A dedicated column where he deconstructs the structural layers of films to uncover deeper sociopolitical meanings. Marginalised Narratives: A commitment to on-ground and analytical reporting on how cinema represents or fails marginalised communities. Critiquing "Performative Wokeness": Rigorous analysis of modern filmmaking trends, identifying the difference between authentic representation and superficial social commentary. Multimedia Discourse: Actively fostering continuous public dialogue on cinema through digital platforms and archival research. Authoritativeness & Trust Anandu Suresh is a trusted authority in the film journalism circuit, frequently providing exclusive coverage from major international festivals like the International Film Festival of Kerala (IFFK). His work goes beyond standard reviews; he is known for holding the industry accountable, as seen in his extensive reporting on sensitive issues like the 2017 Kerala actress assault case and the legal complexities surrounding film credits. By prioritising "Journalism of Courage," Anandu ensures his readers receive commentary that is not only intellectually stimulating but also ethically grounded and factually robust. ... Read More