Housefull 5 Movie Review: A Chaotic Cruise of Cringe and Comedy
Housefull 5 (2025), directed by Tarun Mansukhani and produced by Sajid Nadiadwala, is the fifth installment of Bollywood’s loudest comedy franchise, hitting theaters on June 6, 2025. With a sprawling ensemble cast led by Akshay Kumar, Riteish Deshmukh, and Abhishek Bachchan, alongside Jacqueline Fernandez, Nargis Fakhri, Sonam Bajwa, Sanjay Dutt, Jackie Shroff, and Nana Patekar, among others, the film promises a “killer comedy” with a murder mystery twist set on a luxury cruise. Its ambitious dual-ending format—released as Housefull 5A and Housefull 5B with different climactic killer reveals—aims to innovate the theatrical experience. However, despite its star power and high-energy chaos, Housefull 5 drowns in outdated humor, weak writing, and crass gags, making it a tiring, cringe-inducing ride that only occasionally delivers laughs. Review dissects its highs, lows, and chaotic essence for Bollywood fans and casual viewers.
The plot unfolds on a lavish cruise ship, Aiee, owned by billionaire Ranjit Dobriyal (Ranjeet), who dies of a heart attack just before his 100th birthday, leaving £69 billion to his son, Jolly. Three men—Julius (Akshay Kumar), Jalbhushan (Abhishek Bachchan), and Jalaluddin (Riteish Deshmukh)—emerge, each claiming to be the rightful heir, accompanied by their partners Kaanchi (Nargis Fakhri), Sasikala (Jacqueline Fernandez), and Zara (Sonam Bajwa). A masked killer’s murders spark a whodunit, investigated by eccentric cops (Sanjay Dutt and Jackie Shroff) and Interpol chief Dugadi (Nana Patekar). The narrative spirals into a whirlwind of mistaken identities, slapstick antics, and crude jokes, with a board of shady directors (Chitrangada Singh, Shreyas Talpade, Dino Morea) and Ranjit’s son Dev (Fardeen Khan) adding to the mayhem. The dual-ending gimmick, while novel, feels like a commercial ploy to boost repeat viewings rather than a storytelling triumph.
Akshay Kumar, the franchise’s comedic linchpin, delivers a spirited performance, his impeccable timing lifting flat punchlines and chaotic scenes. His Ace Ventura-style entry and monkey-brawling callbacks to earlier Housefull films spark nostalgia, though they can’t salvage the weak script. Abhishek Bachchan surprises with sharp comic timing and a twist that adds freshness, while Riteish Deshmukh’s reliable charm elicits chuckles. The supporting cast, including Johnny Lever as the loquacious Batuk Patel and Jackie Shroff’s crowd-pleasing “Choti bacchi ho kya?” moment, shines sporadically. However, the female leads—Jacqueline, Nargis, and Sonam—are reduced to eye-candy roles, their characters thinly written and objectified in scenes like a duct-crawling sequence that lingers uncomfortably on their bodies. Soundarya Sharma’s lawyer Lucy faces blatant sexualization, underscoring the film’s lack of a female gaze.
Mansukhani’s direction leans heavily on the franchise’s signature over-the-top style, with glossy visuals capturing the cruise’s opulence and exotic locales from London to Spain. The cinematography by Vikas Sivaraman is vibrant, and the action shifts dynamically, though shoddy CGI (notably in animal scenes) jars the experience. The soundtrack, featuring songs like “Qayamat” and “Laal Pari,” is catchy but often feels misplaced, with the background score failing to elevate key moments. The film’s 165-minute runtime drags, especially in the first half, where repetitive gags and introductions stall momentum. The second half picks up with suspense and a surprising climax (in 5A, at least), but the humor remains inconsistent, relying on crude innuendos and body-part jokes that feel outdated in 2025’s evolved comedic landscape.
The screenplay, co-written by Nadiadwala and Farhad Samji, is the film’s Achilles’ heel. While the murder mystery angle and dual endings add intrigue, the plot feels derivative, echoing Hollywood’s Murder Mystery 2 and earlier Housefull films. Jokes often fall flat, with crass humor—mocking women, animals, or disabilities—alienating discerning audiences. Critics echo this, with Hindustan Times noting Akshay’s charm can’t overcome weak material, and India Today slamming its sexist, forced comedy, rating it poorly. NDTV calls it “utterly absurd,” criticizing its lack of genuine zaniness.
Box office-wise, Housefull 5 opened strong, earning ₹23 crore on day one, surpassing Housefull 4’s ₹19.08 crore, fueled by Akshay’s star power and the franchise’s legacy of ₹788 crore globally. The dual-ending strategy, a first for Bollywood, sparked buzz, with fans curious about both 5A and 5B climaxes. However, its U/A certificate raises eyebrows given the explicit humor, and reports of online leaks hours after release threaten its theatrical run. Social media highlights fan excitement—videos show crowds cheering Akshay’s entry in Nagpur—but also criticism of its “cringe fest” nature.
Housefull 5 is a mixed bag: a nostalgic, star-studded spectacle that delivers sporadic laughs but sinks under lazy writing and offensive gags. For die-hard fans, Akshay’s charisma, Abhishek’s flair, and the chaotic energy make it a passable one-time watch, ideally with popcorn and low expectations. Yet, its failure to evolve beyond the franchise’s dated formula—especially in a post-Stree 2 era of smarter Bollywood comedies—marks it as a missed opportunity. The dual endings are a bold experiment, but without a sharper script, they feel like a gimmick. If you’re seeking mindless fun, Housefull 5 might amuse; for nuanced humor, look elsewhere.
Rating: 2/5