ANTONY
Summary: A cop awakens to get himself caught in his auto which is covered in the earth. Indeed, even as he tries to make an escape, his dad and his better half are endeavoring to follow his whereabouts by pursuing the men who may have motivation to hijack him.
REVIEW: A couple of years back, on-screen character Jai Akash endeavored to ‘adjust’ the Ryan Gosling spine chiller Covered as En Uyir En Kaiyil – about a man who is covered alive inside a casket. Presently, executive Kutii gives an alternate turn to the commence – a man gets caught in an auto that is covered under the earth – and approaches demonstrating his endeavors to survive, and the hunt by his dad, in a ham-fisted way.
The film starts with Antony (Nishanth), a cop, awakening to find that he is caught in an auto that is covered under the earth. He can’t recall how he wound up along these lines, and tries to make sense of who among the numerous men whom he has annoyed could be behind this, and furthermore how to escape this tricky circumstance. In the mean time, his dad, George (Lal), and sweetheart Maha (Vaishali), who is sitting tight for him at the enlistment center’s office, to get hitched, start an inquiry, experiencing the general population who may need Antony out of their way.
The survival spine chiller meets-whodunit preface of Antony, which is being exposed as Tamil silver screen’s first claustrophobic spine chiller, is loaded with guarantee, however the execution is very unpleasant that it takes away any measure of intrigue one may have in perceiving how the plot unfurls. Kutii Kumar intercuts the endeavors of Antony to get out with the hunt of George, however the advances between these two plot lines are random to the point that it doesn’t do equity to both of these tracks. We never get a feeling of how Antony is plotting his escape; all we get are part screens that the manager appears to have picked just on the grounds that they look whimsical. In George’s track, we for the most part get shots of his auto twisting through the slope streets (the setting is Kodaikanal) and him and Maha peering eagerly outside the window. We likewise get a totally pointless sub-plot in which a hoodlum with a grouse against Antony captures Maha. This helps the film out other than adding to the length. So also, the closure is passed on entirely right on time by method for foundation declaration on radio, so we lose intrigue even in the whodunit viewpoint. The incalculable moderate movement shots additionally show an absence of creative ability – and we are left with the inclination a 15-minute short film that has been stretched out to full length.
The main takeaway for the group of onlookers is the fairly smooth cinematography, with a few vital visuals – a fire being put out, a torchlight being secured by mud. With respect to the music (by Sivathmika, a 17-year-old), it is so meddling and aggravating. At last, it is us who feel claustrophobic before the finish of the film as there is no chance to get out.
