Dhamaal 4 (2026): Flying Dolphins And Familiar Chaos In A Franchise Running On Fumes
Ajay Devgn rides flying dolphins through a frame that barely contains the chaos around him. It is a ridiculous image, and for a franchise built on ridiculousness, it signals exactly what kind of film you are walking into.
Devgn’s Guddu Rastogi is the gravitational centre of this ensemble, holding together a group of men who would otherwise scatter like startled pigeons. The trailer coverage positions him as the straight man in a world gone absurd, and he commits to that role with a deadpan that feels almost heroic.
Indra Kumar’s Direction Plays It Safe With A Familiar Template
Indra Kumar knows this terrain. He built it with the original Dhamaal and has returned to it repeatedly, dusting off the same chaos-comedy blueprint each time.
The larger set-piece scale is evident in the promotional material, with snake-and-pirate sequences suggesting a bigger budget. But the screenplay, credited to Paritosh Painter and three others, appears to follow a linear treasure-hunt structure that does not stray far from what worked before.
The weakness, at least from what is visible, is a reluctance to evolve. The flying dolphins are new, but the joke engine remains the same pursuit-and-misdirection routine that has powered this franchise since 2007.
The Ensemble Confusion Structure Remains The Core Comic Engine
This is a comedy built on group rivalry, where greed and self-interest repeatedly dismantle any chance of cooperation. The treasure-hunt framework is not a plot device; it is a continuous generator of misunderstandings, double-crosses, and escalating absurdity.
The trailer’s flying-dolphin sequence is the most overt example of the film’s commitment to exaggerated physical comedy. It is a gag that makes no logical sense, and that is precisely the point. The logic of this world is governed by how far a joke can stretch before it snaps.
What matters is whether the audience laughs at the sheer audacity of the imagery or groans at its desperation. The promotional coverage suggests the former, but the absence of verified critic response leaves the question open. I suspect the answer will depend entirely on how much goodwill you carry for this specific brand of loud, unsubtle humour.
For those who want to judge for themselves, the film’s full theatrical run offers the answer. Browse more Hindi Comedy reviews to see how this stacks against the genre’s recent output.
Arshad Warsi, Riteish Deshmukh And The Returning Comic Triangle
Arshad Warsi returns as Aditya ‘Adi’ Srivastav, and his chemistry with Devgn remains the franchise’s most reliable asset. Warsi’s timing has always been the sharpest instrument in this ensemble, and his presence anchors the comic rhythm when the screenplay wanders.
Riteish Deshmukh’s Deshbandhu ‘Lallan’ Roy is back in his element, playing the enthusiastic fool who never quite grasps the stakes. Jaaved Jaaferi’s Manav Srivastav completes the returning core, and the trio’s familiarity with each other’s rhythms is evident even in the limited trailer footage.
Ravi Kishan steps in as the antagonist Adhoora, a casting choice that signals the film’s intent to balance star power with character-actor credibility. Sanjay Mishra, Esha Gupta, and Sanjeeda Shaikh round out a supporting bench that adds texture, though their specific beats remain unverified in the available material.
Audience Reception And The Box Office Verdict
The film’s target audience is clear: fans of the franchise, mass-market viewers, and families looking for undemanding entertainment. Those expecting grounded drama, subtle humour, or a plot-driven thriller are advised to look elsewhere.
Trade reporting from SACNILK indicates the film was declared a Hit, with India net collections of ₹167.84 Cr and a total gross of ₹230.13 Cr by 4 September 2026. Taran Adarsh was cited in pre-release coverage regarding schedule changes, and the multiple release-date shifts suggest some behind-the-scenes turbulence that did not ultimately hurt the box office.
The audience response, at least in terms of turnout, has validated the franchise’s staying power even as critical consensus remains unverified.
The release-date shuffling and the absence of a clear critical voice in the conversation make this a harder film to assess on merit alone. What is certain is that the core cast’s return has commercial value, and the treasure-hunt setup delivers exactly the kind of exaggerated situations that this audience has come to expect. Watch it on a regular screen with low expectations and a tolerance for loud, familiar comedy. Those seeking something new from this franchise will leave disappointed, but the box office suggests that audience was never the target.
Dhamaal 4 is a competent rehash for fans who know exactly what they are buying, but it earns a modest 2.5 out of 5 for refusing to push its own formula.
For a sharper take on confined chaos, see how Qaid review handles tension in a single space.
If franchise fatigue is your concern, Mirzapur verdict shows a different approach to extending a universe.
Ankit Jaiswal is the Chief Author, covering Indian cinema and OTT releases with honest, no-filler criticism. An SEO strategist by background, he brings a research-driven approach to film writing, cutting through hype to tell you exactly what's worth your time.
