“Masti 4,” the latest installment in the long-running comedy franchise, has arrived in theaters, but it delivers far more frustration than humor. Billed as a grand return for the series, the film quickly establishes itself as a tedious experience, earning a dismal 1 out of 5 stars from critics. It challenges audience endurance rather than entertaining them.
The original “Masti” in 2004 found an audience, leading to sequels like “Grand Masti” and “Great Grand Masti.” However, this fourth entry squanders any goodwill built by its predecessors. Its story feels scattered from the very beginning, and attempts at comedy come across as tired and outdated. Many scenes drag unnecessarily, making it difficult for viewers to stay engaged.
The plot centers on three married friends: Meet (Vivek Oberoi), Amar (Riteish Deshmukh), and Prem (Aftab Shivdasani), who are discontent with their mundane lives. When their friend Kamraj (Arshad Warsi) reveals his wife (Nargis Fakhri) grants him a “love visa” for a week with another woman, the trio sees an opportunity. After some marital disputes, their wives eventually agree to the arrangement. However, the friends receive a significant shock upon their return when their wives demand the same “love visa,” setting the stage for unexpected complications.
Despite featuring several well-known actors, the performances in “Masti 4” lack vitality. Riteish Deshmukh, Vivek Oberoi, and Aftab Shivdasani appear in their roles, yet their comedic timing falls flat. The necessary energy for delivering humorous dialogue is noticeably absent, and attempts at eliciting laughter often result in silence from the audience.
Tusshar Kapoor, appearing as a Bihar police officer, struggles with both his delivery and his performance, failing to make an impact. Arshad Warsi and Nargis Fakhri are present in minor roles that come and go without leaving any lasting impression. The sheer number of familiar faces cannot compensate for the film’s overall weakness, as no single actor manages to stand out.
A particularly problematic aspect is the portrayal of the female characters. They are largely superficial, frequently shown in bikinis, and exhibit no discernible depth. They appear to be used primarily for visual appeal rather than serving any meaningful narrative purpose, reducing them to objects rather than fully developed characters.
Director Milap Zaveri’s approach further weakens the film. The entire experience raises the question of why “Masti 4” was made at all. The narrative feels incomplete, scenes are prolonged needlessly, and bizarre situations are presented in place of genuine comedy. It seems the film relies solely on the recognition of its franchise name, offering neither intelligence nor amusement. Zaveri’s lack of control is evident throughout, as the movie lacks direction and fails to hold the audience’s attention. Instead of generating laughs, it induces boredom.
Even the soundtrack disappoints. Despite belonging to a significant franchise, the music lacks any appeal. The songs play and fade without leaving any memorable impression, making it nearly impossible to recall any standouts after watching.
Given its pervasive flaws, “Masti 4” is definitively a film to avoid. If one finds themselves with two and a half hours of free time, activities such as sleeping, taking a walk, or even cleaning a phone screen would be more productive pursuits. There is genuinely nothing to be gained from watching “Masti 4,” unless the goal is to test the limits of one’s patience.