 First things first. BHOOL BHULAIYAA could have been a very good movie instead of being just good which it turns out to be eventually if not for a lukewarm pre-climax and climax!
The film has everything going in it's favor till the last 20 minutes of the film. BHOOL BHULAIYAA opens well with spooky elements mixed well with the comic undertones as the audience is given a hint that there is something wrong about a 'barson puraana mahal'.
Dozens of characters in a joint family are introduced and Priyadarshan almost threatens to be a Barjatya in a place which looks like Banaras, people dress up like Rajasthanis on festive occasions, speak in 'shuddh Hindi' which is clearly the handiwork of a Tamil-to-Hindi dialogue translator, and dance to 'bhangra' numbers as well.
 Well, no real complains here as this is a Priyadarshan film and hence 'sab maaf hai'! Even as Paresh Rawal, Rajpal Yadav, Asrani and Rasika Joshi (all regulars in Priyan films) get chuckles and laughter alternatively, one gets an eerie feeling all the time that 'kuch to hai'!
The film's first 'bhool' though is Shiney Ahuja who strangely hams from start till the end of the film. An actor who has been terrific form in each of his films HAZARON KHWAHISHEN AISI, GANGSTER and WOH LAMHE seems to be on a sticky ground when it came to being a part of over-the-top cinema of Priyan. His body language, mannerisms, facial expressions - combination of just about everything makes one look at his act wide mouthed!
Nevertheless, the suspense element continues to build even as secrets start tumbling about 'bhoot-pret', mysterious sounds in the 'mahal', creepy happenings impacting each of the family members, 'dardnaak awaazein' (reminding one of Ramsay films) - in nutshell, all of this does work!
And no, there aren't many complains though around Akshay Kumar's late entry into the scene. As an audience you know that something is going to happen once he is in and till then the built of suspense is good enough to keep you involved.
Well, once he enters the frame as a shrink, it is a complete 'paisa vasool' moment. He gets the house on fire, even as his own suitcase gets on fire by Miss Bhoot. His interaction with number of members from the family is quite hilarious as his initial body language does remind of Jack 'Pirates of the Caribbean' Sparrow. He makes fun, gets scared, suspects people, tries to solve mystery and all this while fooling around. Simply entertaining.
 Meanwhile the suspense reaches it's peak as he interacts with the 'spirit' for the first time. 'Now we are talking' - you may end up saying to yourself as you look forward in anticipation to a terrific climax. Unfortunately this is where when the film doesn't create a kind of hammer strong impact as one would have expected.
The actual reason behind the 'bhoot' to behave the way she is doing is fine but it all becomes so talk-heavy that one wishes if it was simpler. Though the film does become interesting again as the 'bhoot' comes out in open but the way things resume to normal seems a little rushed.
Hypnotism chapter which comes later only drags the story further while a forced Akshay-Amisha love angle in the end is just plain unconvincing. Arrey bhai, inme pyaar hua kab? Now that's one real 'bhool bhulaiyaa' actually!
Ranjit Barot's background score is a major contributor to the film's narrative while Pritam's chartbuster 'Hare Krishna Hare Raam' makes one glued to the seats even as the end credits roll. Film's sound design, as is the case in all Priyan films, is top class. Editing is good while cinematography rich and consistent.
Akshay Kumar is easily the heart, soul and body of the film. Vidya Balan comes into top form towards the last 30 mi
| 
- 
