Movie Review: Devil’s Double Next Level (2025) – A Missed Opportunity in Kollywood’s Horror-Comedy Franchise
Devil’s Double Next Level, the fourth installment in the Dhilluku Dhuddu franchise, hit Tamil Nadu theaters on May 16, 2025, promising a fresh twist on the horror-comedy formula that made its predecessors commercially successful. Directed by S. Prem Anand, who helmed DD Returns (2023), and starring Kollywood’s comedy stalwart Santhanam, the film introduces a meta premise centered on a YouTube film critic named Krishna, aka Kissa 47 (Santhanam), who gets trapped inside a horror movie by a vengeful ghostly director, Hitchcock Irudhayaraj (Selvaraghavan). With a cast featuring Gautham Vasudev Menon, Geethika Tiwary, Motta Rajendran, and others, and produced by Niharika Entertainment and The Show People, the film had all the ingredients for a riotous genre-blending spoof. Unfortunately, despite its ambitious concept and occasional sparks of brilliance, Devil’s Double Next Level stumbles into a convoluted mess, failing to capitalize on its potential and leaving audiences wanting more.
The film kicks off with a promising setup: Kissa 47, a brash YouTube reviewer known for his rap-style critiques and overuse of the word “bro,” is invited to a mysterious screening at Cinema Paradise, a theater owned by the ghostly Hitchcock Irudhayaraj. This spectral filmmaker, played with intensity by Selvaraghavan, harbors a grudge against critics who “spoil the sanctity of cinema.” When Kissa arrives, he’s sucked into the movie’s world alongside his family—mother (Kasthuri Shankar), father (Nizhalgal Ravi), sister (Yashika Anand), and girlfriend Aasai Harshini (Geethika Tiwary). Inside this cinematic prison, his family members assume quirky reel-life personas unaware of their real identities: his mother becomes a Telugu-speaking thief, his father a cruise ship captain, and his sister a scantily-clad love interest to Gautham Menon’s Detective Ragavan, a spoof of his own Kaakha Kaakha character. Kissa, aided by his friend Veenpechu Babu (Motta Rajendran), must navigate this bizarre horror film filled with masked killers, cannibals, and supernatural threats to save his loved ones and escape.
The premise is undeniably inventive, blending horror, comedy, and satire with a meta-commentary on film criticism and the movie industry. The first 25-30 minutes deliver on this promise, offering a hilarious stretch where Santhanam’s signature comedic timing shines. His jabs at YouTube reviewers, gossip-mongering journalists, and even his own male-chauvinist tendencies land well, as noted by India Today. Gautham Menon’s self-parody, particularly a dance sequence to Uyirin Uyire from Kaakha Kaakha, is a highlight, drawing laughs for its absurdity. The film’s self-awareness—characters winking at the camera about being “in a movie”—adds a clever layer, with references to Scream, The White Lotus, and Tamil cinema tropes like Ajith films., Motta Rajendran’s bewildered interactions with Gautham Menon’s deadpan officer also mine genuine humor, making their scenes a standout.
However, the film nosedives post-interval, squandering its early momentum. The second half devolves into a tedious slog of repetitive gags, leaning heavily on crude toilet humor—like Nizhalgal Ravi’s bowel-movement jokes—that feels outdated and grating., The screenplay, credited to S. Prem Anand, loses focus, bouncing between a cruise ship, a mystical island, and a haunted theater without a cohesive thread. Critics like The Hindu and Times of India noted the script’s convoluted nature, with too many layers—horror, comedy, satire, thriller—competing for attention, resulting in a “confused identity.”,, The horror elements, meant to be central, are underwhelming; the ghosts, Jessica and Irudhayaraj, lack menace, and the promised “gory kills” from DD Returns are absent, as The Hindu lamented. The meta humor, initially a strength, becomes overbearing, with characters repeatedly exclaiming “we’re in a movie!” until it feels like a gimmick, as Times of India pointed out.
Santhanam, usually a comedic powerhouse, is a mixed bag here. His Kissa 47 is an annoying man-child, and while his punchy one-liners and sarcastic delivery spark laughs, his overacting and forced Gen Z rapper accent grow tiresome., The supporting cast is underutilized. Selvaraghavan’s intense performance as the ghostly director is compelling but brief, while Gautham Menon’s spoofy role, though fun, feels like an easy target. Actors like Redin Kingsley, Lollu Sabha Maaran, and Yashika Anand have little to do, and Kasthuri Shankar’s shift from religious mom to beer-chugging diva feels more jarring than funny. Motta Rajendran is a bright spot, his comedic chemistry with Santhanam carrying several scenes, especially in the climax.,
Technically, the film has merits. Dipak Kumar Padhy’s cinematography captures eerie settings effectively, and the set designs, particularly the haunted theater and cruise ship, are imaginative. OfRo’s background score cleverly uses musical cues to signal danger, though the absence of songs is a relief given the film’s pacing issues. However, Bharath Vikraman’s editing fails to tighten the sluggish second half, which feels like “six hours” despite the two-hour runtime, per India Today.
Audience and critic reactions are mixed. Some fans praised Santhanam’s comic timing and the film’s “banger” moments, giving it ratings like 3.5/5 for its “interesting storyline.” Others called it “below average,” criticizing the messy screenplay and lack of laughs compared to DD Returns., Cinema Express gave it 3/5 for its self-awareness, but Hindustan Times and MovieCrow slammed it as “excruciating” and “tiresome,” with ratings as low as 2/5.,, The film’s U/A certificate and multi-language release (Tamil, Hindi, Telugu) aimed for broad appeal, but its niche focus on film critics limits its reach.,
Devil’s Double Next Level had the potential to be a bold evolution of the Dhilluku Dhuddu franchise, with its meta premise and starry cast. Yet, it falters due to a disjointed script, overreliance on crude humor, and weak horror elements. For Santhanam fans or those who enjoy experimental comedy, it’s a passable one-time watch, but it’s a step below DD Returns’s cohesive fun. As Kollywood continues to churn out horror comedies, this film serves as a reminder that a great concept needs sharp execution to truly shine.
