Eesha Movie Review: A familiar horror tale that never rises above the ordinary

It’s once again horror-thriller season in Tollywood, and Eesha arrives in theatres on December 25 amid a crowded festive lineup. Directed by Srinivas Manne, who makes a comeback after his 2009 film Katha, the film sticks to the psychological horror space he is familiar with. Produced by KL Damodara Prasad, returning to production after four years, Eesha also boasts the backing of distributors Vamsi Nandipati and Bunny Vasu, known for picking promising small films. Despite these associations, the film struggles to carve an identity of its own.

Cast: Hebah Patel, Thrigun, Siri Hanumanth, Akhil Raj, Babloo Prithveeraj, Mime Madhu and others

Director: Srinivas Manne

The story follows four childhood friends — Naina (Hebah Patel), Kalyan (Thrigun), Vinay (Akhil Raj), and Aparna (Siri Hanumanth) — who firmly believe that ghosts do not exist. Their mission in life appears to be exposing fake godmen, tantriks, and swamis who exploit people’s fears. Their path leads them to Dr Adidev (Babloo Prithveeraj), a former neurosurgeon who has now reinvented himself as a swami, claiming to cure people possessed by spirits. Determined to unmask him, the friends travel to his ashram located on the Andhra–Odisha border. An accident on the way, however, sets the stage for a challenge thrown by Adidev, who dares the group to spend three nights in a haunted house to prove that ghosts are a myth.

Srinivas Manne opens Eesha with an idea that feels relevant even today — whether fear of ghosts is real or merely psychological. Early sequences involving a child suffering from sleepwalking and the tragic consequences of blind belief hint at a film that wants to question superstition. However, these moments are treated in a superficial and amateurish manner, robbing the narrative of the weight it needs. The director also offers little insight into the lives of the four friends — what they do, how they survive, or what truly drives them — making them feel more like plot devices than fully-formed characters.

The narrative briefly finds some traction once Dr Adidev enters the story, but even here, the writing remains frustratingly vague. His transformation from a reputed neurosurgeon to a tantric swami is neither explored nor convincingly justified. Why he resorts to extreme rituals or chooses a remote border location remains unanswered. Once the story shifts to the haunted house, the film relies on familiar horror tropes — creaking doors, shadowy figures, and sudden noises — with only a handful of mildly effective scary moments.

The director’s reliance on a dated template becomes increasingly evident. There are clear echoes of films like The Others and Telugu outings such as Anando Brahma, but unlike those films, Eesha fails to add a fresh layer or perspective. The plot remains predictable, and what is projected as a major twist in the climax hardly comes as a surprise, especially for viewers familiar with the genre. A more tightly written second half and a stronger climax could have elevated the film significantly.

Technically, the film remains serviceable at best. Dhruvan’s background score is occasionally loud and does little to enhance the tension, except in a few scenes. Santosh’s cinematography is passable, capturing the haunted setting without adding much atmosphere. On the plus side, the film’s runtime of nearly two hours works in its favour.

Performance-wise, the cast delivers routine turns. Hebah Patel gets a central role but is given limited scope to shine. Thrigun, Akhil Raj, and Siri Hanumanth are adequate in their parts without leaving a strong impression. Babloo Prithveeraj’s role as Dr Adidev had the potential to be imposing, but weak writing and poor dubbing reduce its impact. Mime Madhu, despite being underutilised, manages to stand out briefly with his screen presence.

In the end, Eesha turns out to be a regular, by-the-book horror thriller that offers a few scattered scares but little else. Srinivas Manne plays it safe, sticking to a familiar formula without pushing boundaries. While the makers hint at a sequel, this film itself doesn’t quite make a compelling case for what lies ahead.