Name: Drishyam 3 (2026)
Genre: Crime, Thriller
Released: 2026-05-21
Rating: 6.5
Cast: Mohanlal, Meena, Siddique, Asha Sharath, Esther Anil

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The third chapter in the Malayalam crime thriller series continues the tense saga of Georgekutty and his family. As past secrets resurface, the story dives deeper into suspense and deception, promising gripping twists at every turn.

Times of India

Pinkvilla

The power of the Drishyam franchise was never merely its suspense. It was the uncomfortable moral space it placed the audience in. A man commits a crime, manipulates the system, destroys evidence, and escapes punishment, yet society collectively decides to stand with him because the crime was committed to protect his family.
That emotional manipulation of morality remains the core strength of the franchise, and perhaps its biggest social question.
In the third installment, Georgekutty is no longer the vulnerable cable TV operator audiences once sympathised with. He is now a successful film producer whose life outwardly reflects achievement and stability. His daughters are adults, the family has evolved, and the world around them appears to have moved on. But the film revisits the same haunting question: can fear ever leave a man who built his life on buried violence and hidden truth?
Jeethu Joseph attempts to explore guilt, paranoia, and psychological exhaustion more than suspense this time. The focus is not entirely on investigation or survival, but on how violence silently continues to exist inside relationships, memory, and everyday life. Georgekutty’s greatest punishment is not prison, but the inability to live without fear.
At the same time, the film also exposes and to an extent glorifies, how cinema and society romanticise antiheroes. Georgekutty is projected not as a criminal, but as a common man who transforms into a “superhero” through intelligence and survival instinct. That emotional packaging becomes socially problematic. Audience continue to justify violence, manipulation, and crime because they are committed in the name of family protection.
In a society where several real-life crimes are often compared to the “Drishyam model,” the glorification becomes disturbing rather than merely cinematic. The franchise unintentionally normalises the idea that intelligence can morally outweigh crime, and that emotional intention can dilute accountability. Georgekutty exists in a morally grey space, but the films repeatedly frame him through sympathy, making the audience root for concealment rather than confrontation of truth. That is perhaps the most unsettling social impact of the franchise.
The performances continue to remain one of the strongest aspects of the series. Mohanlal carries Georgekutty with restraint rather than theatricality, making the character feel painfully ordinary. The supporting characters also retain the emotional familiarity that has always made the family feel real to Malayali audiences. Technically too, the film stays polished, with Satheesh Kurup’s visuals and Anil Johnson’s score effectively sustaining the emotional mood.
However, the film struggles with pacing. The narrative takes too long to establish its emotional conflict, and the suspense does not organically build for a significant portion of the runtime. The challenge is understandable. The audience already knows the crime, the family, and the emotional stakes. But in trying to create another layer over an already complete story, the screenplay occasionally feels stretched.
The final portions still manage to deliver the tension and emotional payoff expected from the Drishyam brand. Yet the larger question remains unavoidable: was a third part truly necessary? The original film had closure within its moral ambiguity, while the second part expanded the psychological consequences effectively. This third chapter often feels like a continuation driven more by the weight of a successful franchise than by an urgent storytelling need.
And as the film leaves space for yet another sequel, another question emerges — how long can one crime continue to generate new narratives before the emotional impact begins to dilute itself?
Perhaps that is where Drishyam now stands: not merely as a thriller franchise, but as a reflection of how cinema repeatedly reopens violence, guilt, and morality because audiences themselves are unable to let go of Georgekutty.

Drishyam 3 is exactly what it was presented as in the trailer. The film follows the same pattern as its predecessors in the franchise, with the first half taking its time to set up the world and reintroduce the characters, while the intensity and tension rise after the interval.

With Mohanlal headlining the movie, the actor delves deeper into the character, exploring the true colors of his personality. Over time, Georgekutty has become knee-deep in tension and fear while trying to protect his family, always staying wary of what might come next. Such a burden is bound to take a toll on any person, and that emotional depth becomes the central backbone of the film, making it an impressive addition to the franchise.

In Drishyam and Drishyam 2, Georgekutty comes across as almost superhuman, giving audiences goosebumps with the way he executes his plans. However, the Georgekutty of Drishyam 3 is different, and his humane metamorphosis presents a much frailer and more exhausted version of the man, allowing Mohanlal to truly excel.

Another major asset of Drishyam 3 is writer-director Jeethu Joseph. The film may not be as edge-of-the-seat thrilling as its earlier installments. However, similar to the prequels, the momentum and awe factor only continue to rise from the interval block to the film’s closing moments.
The Performances

Drishyam 3 is the perfect birthday gift from Mohanlal to his fans. The actor truly reinvents himself, despite already being a legend of the craft, and completely surrenders to the layers and nuances of the character. Unlocking newer facets of Georgekutty, Lalettan delivers a masterclass in acting, proving that this character, in his hands, will always stay one step ahead of everyone else.

Apart from the ‘Mighty L’, Siddique shines to a great extent with his portrayal of a grieving father mourning the loss of his son while watching his wife fall apart. The manner in which his character unfolds adds further depth to the narrative.

Moreover, several supporting actors, including Meena, Murali Gopy, and Veena Nandakumar, contribute valuable substance to the story.

The Verdict

Drishyam 3 may not carry the same punch as the first installment, but it still remains an engaging and entertaining crime thriller. With its share of impressive moments, the film makes for a worthwhile theatrical watch, even if it is just to experience Mohanlal’s acting brilliance and/or Jeethu Joseph’s writing.

Drishyam 3 - Official Teaser | Mohanlal | Jeethu Joseph | Meena | May 21 Worldwide Release

Drishyam 3 - Official Trailer | Mohanlal | Jeethu Joseph | Meena | May 21 Worldwide Release

Drishyam 3 - Official Kannada Trailer | Mohanlal | Jeethu Joseph | Meena | May 21 Worldwide Release

Mohanlal

Meena is a popular actor in Tamil, Telugu, Kannada and Malayalam cinema. She started her acting career as a child artist in the Tamil movie Nenjangal (1982). Some of her popular movies include Dharama, Indra Bhavanam, Chanti, Bangarau Maama, Moratodu Naa Mogudu, Veera, Thai Maaman, Coolie, Marumagan, Vallal, Iraniyan, Doubles, Rishi, Censor, Swamy, Drishyam and Dasanna. Apart from acting, Meena is also a dubbing artist.

Meena

Siddique

Asha Sharath is an Indian actress and classical dancer, who predominantly works in Malayalam films and television shows.

Drishyam 3 (2026)

Drishyam 3 (2026)(2026)

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