Bazooka movie review: Slow Burn with a Bang

Bazooka, directed by Deeno Dennis and headlined by Mammootty, is a slow-burning thriller that takes its time to unfold but eventually delivers a satisfying payoff. The film opens not with a bang, but with quiet intrigue—Mammootty’s character is introduced as an unassuming man at a bus stop, his presence subdued yet commanding. This sets the tone for a film that doesn’t rely on the loud, formulaic tropes of mass cinema, at least not immediately.

The story begins with a curious sequence at the airport, where a nun carrying a canvas case is briefly detained by customs. The case contains a painting—seemingly innocuous, but central to the plot. This painting becomes the film’s MacGuffin, a mysterious object that triggers a chain of events. Gautham Vasudev Menon, playing police officer Benjamin Joshua, takes charge of the painting, but its real significance is withheld until the film’s climax.

From there, Bazooka moves forward through a series of seemingly disconnected scenes—a Halloween party, the introduction of Benjamin’s family, and a mysterious package received by his son, which introduces the titular ‘Bazooka’. Not a weapon, but something far more metaphorical and layered.

The narrative then shifts again to a long-distance bus journey where we meet Sunny Varghese (played by Hakkim Shah), a brash, entitled gamer. His encounter with Mammootty’s character sets the stage for what is to come. Sunny becomes both witness and participant in a high-stakes narrative that involves serial heists, tech-driven deception, and a cat-and-mouse chase across states.

Mammootty’s character claims to be on a secret mission with the police, which leads to some stylish and sharply executed action sequences—particularly one involving a gang of bikers on a highway. There’s also a subtle humour in how Sunny, a self-confessed Mammootty fan, reacts to the events unfolding around him, giving the film a meta edge.

The first half of the film keeps the audience guessing, peppering clues that don’t seem to connect at first. This non-linear approach and the suspenseful buildup are engaging, but the pacing falters post-intermission. The middle stretch becomes a bit of a drag, lacking the tension promised early on.

Where Bazooka regains its grip is in the last 30 minutes. Here, everything begins to tie together—plot threads converge, surprise cameos appear, and the layered gaming metaphors finally click into place. Deeno Dennis cleverly weaves in references to classic games like Snakes and Ladders and Super Mario, as well as analog-era communication tools—letters, emails, SMS—to drive home the film’s theme of misdirection and strategy.

Technically, the film is sleek. The cinematography is stylish but not overwhelming, and the music supports the mood without being intrusive. Mammootty is effortlessly charismatic, his performance grounded yet impactful. He doesn’t overplay the heroics, letting the mystery and emotional beats do the talking. Gautham Menon is convincing as the calm, composed cop, though his character could’ve used more development.

The supporting cast does their part, but unfortunately, the female characters are given little agency. They mostly exist to fill space in the narrative rather than shape it, which is a missed opportunity.

Overall, Bazooka is an intelligent, if uneven, thriller. It may test your patience in parts, but the clever writing and final act twists make it a worthwhile watch. Mammootty fans, in particular, will find plenty to celebrate. While the film doesn’t reinvent the genre, it presents a fresh enough take with a modern digital edge. For those who enjoy slow-burn narratives that eventually reward your attention, Bazooka is a solid choice.