Mastii 4 Movie Review: A Charmless, Offensive Thud That Should Be the Final Nail in the Coffin

Starring: Riteish Deshmukh, Vivek Oberoi, Aftab Shivdasani, Arshad Warsi, Nargis Fakhri, Genelia D’Souza, Tusshar Kapoor, Elnaaz Norouzi, Shreya Sharma, Ruhi Singh
Director: Milap Zaveri
Rating: ★☆☆☆☆ (0.5 Stars)

A sex comedy operates on a simple premise: it uses sex, innuendo, and awkward situations to generate laughter. Mastii 4, the fourth installment of a franchise that began with 2004’s Masti, operates on an even simpler one: it mistakes relentless, jaw-dropping crudeness for humor. The result is a film that is not just unfunny, but an actively regressive, charmless, and offensive slog that feels painfully out of step with the times.

The plot—a term used generously—finds our perennial man-children Amar (Riteish Deshmukh), Meet (Vivek Oberoi), and Prem (Aftab Shivdasani) two decades deep into their “shaadi-is-barbaadi” philosophy. Their schtick remains unchanged: marriage is a prison, their wives are joy-killers, and their own happiness hinges on illicit sexual escapades. The problem is, the actors have visibly aged, lending a layer of profound sadness, rather than comedy, to their adolescent pursuits. The sight of grown men, with receding hairlines and life experience, still snickering at double-entendres about “lingams” and “chingams” is less a joke and more a depressing case of arrested development.

The narrative vehicle this time involves a convoluted “love visa” scheme, administered by the celestial (and utterly wasted) couple Kaamdev and Menaka (Arshad Warsi and Nargis Fakhri). It’s a flimsy pretext for the trio to seek extramarital affairs, which they inevitably bungle. The film then attempts a “role-reversal” where their wives consider the same, prompting our heroes to react with hypocritical horror. This isn’t satire; it’s a blatant endorsement of a toxic double standard, presented without irony or intelligence.

The humor, if one can call it that, is a bottomless pit of cringe. Prem, an animal mating expert, labels himself a “master-baiter.” The number sixty-nine is referenced with the subtlety of a sledgehammer. The film resorts to computer-generated animals humping humans for a gasp of shock value. Director Milap Zaveri’s script throws spaghetti at the wall—aiming cheap shots at gay people, the elderly, and the institution of marriage itself—hoping something, anything, will stick. Nothing does. It’s a puerile exercise in shock without wit, where every “joke” lands with a thud of embarrassment.

A special note must be made for the cameo by Tusshar Kapoor as a Russian thug named “Putinwa,” a moment so absurd and poorly conceived it feels like a scene from a different, equally bad movie, or perhaps a sign that the viewer has begun to dissociate from the trauma on screen.

The cast, many of whom are capable performers, are left stranded. Deshmukh, Oberoi, and Shivdasani go through motions that were stale ten years ago. Arshad Warsi’s comic timing is squandered. The female characters—played by Genelia D’Souza, Elnaaz Norouzi, Shreya Sharma, and Ruhi Singh—exist solely as nagging wives or objects of desire, with no agency or personality beyond their relationship to the male leads.

Verdict: Mastii 4 is more than just a bad film; it’s an artifact. It belongs to an era of comedy that modern audiences have rightly outgrown—one built on lazy stereotypes, gender hostility, and a pathological fear of maturity. It offers zero laughs, non-stop cringe, and a lingering sense of pity for everyone involved. The Masti series began with a hop and a skip, but with this fourth outing, it doesn’t just jump the shark; it nosedives into a abyss of creative bankruptcy. One can only hope this is the franchise’s final, definitive whimper.

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