Udayanidhi, who works in a private company, and Prasanna, an IT employee, become roommates. Later that night, the two go to a bar along with another friend, Sathees.
Then Bhumika’s car crashes in front of Udayanidhi’s eyes. Udayanidhi leaves Bhumika at her house and brings the car to his room.
The next morning, Bhumika is found dead in the car. How did he die, did Udayanidhi recover from the crime of murder, and who trapped him, the director M. Maran has created the screenplay with unbelievable twists and answers.
Udhayanidhi, who is in a big trouble, has not shown it anywhere on his face and has given a modest performance in many scenes. Fear, confusion, tension, helplessness, the same facial expression at all times. Can you have a little more Menaket Uday?! It is through Prasanna, who travels with Udayanidhi, a character with a negative shade, that the tension unfolding on screen is conveyed to the audience.
Prasanna has given her excellent performance in all places like being scared, acting villainous, deceiving and deceiving.
Srikanth, Bhumika, Vasundhara, Mari Muthu and many others have given their performances in alliance, but the second half has been able to strengthen to some extent. Only Srikanth and Vasundhara stand out in this. Heroine Atmika comes and goes only for four scenes. Satish also comes in a bit, laughs a bit more and disappears.
In the first half, the story moves in a conventional style without demonstration like the love scenes between Udhayanidhi and Aadmika, the love song, the problem at Aadmika’s house due to the knowledge of the love affair, Sathish’s comedy. After Bhumika’s arrival, the plot picks up pace. But the director has written the screenplay for a suspense thriller with complete lack of credibility and forced twists. The constant introduction of new characters towards the end makes the place of untangling knots uninteresting.
He has carried the story by filling in twists and turns in the outdated thriller template like putting a twist at the end like double action, adding a fraud in the medical industry like a pickle to the story. Coupled with these uninteresting scenes, the logic holes only lead to boredom for the audience. On the one hand, there is a question whether there is no CCTV camera on the main roads where the story takes place, on the other hand, the CCTV camera videos shown as evidence in some scenes are shown as if they were taken in mid, close-up, long shot from multiple angles! It would have been even better if the audio was included.
The question of how the mysterious person who follows Udayanidhi and Prasanna goes everywhere ahead of them and is ready with the camera, not only confuses but also brings laughter to the audience. And the question of whether two commoners would think so recklessly with a dead body travels with us throughout the film. The backstory for Bhumika is also the same as seen in many films.
Most of the scenes were shot at night. For that, Jalandhar Vasan’s cinematography has helped to some extent. San Lokesh could have paid more attention to the cinematography. He has kept calm even in scenes where he has to speed up. Sindhu Kumar has tried to fix the places where the screenplay left it unsatisfied with his background music. In this, he has won in a few places.
Due to logic errors, uninteresting twists, new characters that keep cropping up till the end of the story, the film loses its credibility and tells you not to believe this story.