Poster of the film Aadu 3

Aadu 3

Comedy Fantasy Malayalam


Shaji Pappan and Co. opens a Pandora's box of reincarnations and multiple timelines leading to comic chaos of epic proportions.

Cast:Jayasurya, Vinayakan, Sunny Wayne, Saiju Kurup, Vijay Babu, Vineeth Mohan, Dharmajan Bolgatty, Harikrishnan, Bhagath Manuel, Indrans, Bijukuttan
Director:Midhun Manuel Thomas
Writer:Midhun Manuel Thomas
Editor:Lijo Paul
Camera:Akhil George

Guild Reviews

Image of scene from the film Aadu 3

Flogging a dead goat through multiple timelines

Fox in morning light

S. R. Praveen | The Hindu

Fri, March 20 2026

Despite its ambitious scope and comedic potential, the nearly three-hour movie only offers a series of character introductions rather than a cohesive narrative, ultimately leaving viewers yearning for a satisfying conclusion

How can a cinematic idea, which has been milked to its limits, be stretched further without seeming like the filmmaker is flogging a dead goat, er, horse? Bring in multiple timelines, make the same characters do the same things but in different time periods and maybe let these characters from various eras collide. Well, that is exactly what writer and filmmaker Midhun Manuel Thomas does with Aadu 3: One Last Ride: Part 1, the third instalment of the spoofy satire Aadu Oru Bheekara Jeeviyaanu (2015).

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Image of scene from the film Aadu 3

GOAT-ed Characters Get Butchered In This Wild Bore

Fox in morning light

Vishal Menon | The Hollywood Reporter India

Thu, March 19 2026

As with every idea that turns into a business proposal, 'Aadu' is forced to become a big, bloated, big-budgeted status vehicle

One suspects that the experience of reading the script of Aadu 3: One Last Ride: Part 1 must have been a thousand times more rewarding than the experience of watching the film. This is not because one’s imagination isn’t limited by budgets or by performances, nor does it have much to do with this film getting lost in execution. Of all the films of this franchise, this is the only film that relies almost entirely on literal humour. Instead of trusting these characters to deliver the goods with the film’s organically silly situations, Midhun Manuel’s writing goes overboard with wordplay and puns. Now, these are fun at the beginning and you also understand the cleverness of some of the usages, but you can’t help but imagine how much funnier it may have been to read these lines on paper, rather than make a huge ensemble present them, each with their own eccentricities and styles. Instead of figuring a specific brand of humour for each character (like in the previous films), Midhun chooses to repeat the same style of dialogues for all, lending a homogeneous dullness to a film that could have gone anywhere.

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