This review could still seem more attractive than Adhik Ravichandran's Mark Antony, a ridiculously noisy and goofy time-travel gangster thriller that neither takes itself seriously nor is eccentric enough to ignore its obvious flaws.
Adhik's story's unique selling point could revolve on this straightforward but intriguing question: What would happen if a time-travel gadget got caught up in a violent gang battle from the 1970s? There is potential in Adhik's idea and in the way he initially uses the time machine. In 1975, Jackie Pandian (SJ Suryah) and Antony (Vishal) jointly control the majority of Chennai.
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(Tamil) Mark Antony
- Adhik Ravichandran is the director.
- Vishal, SJ Suryah, Ritu Varma, and Sunil were cast
- 122 minutes total
- Story: Two young kids of two 1970s criminals discover a time machine in 1995, which takes their lives on an absurd roller coaster trip.
Mark Antony’ movie review
Sadly, everything goes wrong when their adversary Ekambaram (Sunil) fatally shoots Antony at a club one fateful night. In 1995, Jackie is a crime lord who is more affectionate with Antony's kid Mark (again, Vihal) than his own son Madhan (again, Suryah). When Mark discovers a Time Travel Phone created by the late scientist Chiranjeevi (Selvaraghavan), things take a turn.
In 1995, Jackie is a crime lord who is more affectionate with Antony's kid Mark (again, Vihal) than his own son Madhan (again, Suryah). The situation changes when Mark discovers a Time Travel Phone created by the late scientist Chiranjeevi (Selvaraghavan) and chooses to call his deceased parents.
Adhik utilizes Chiranjeevi's interesting sci-tech gear according to his whims, turning it into a toy for some adults' kids in the process. There are a few limitations to using this device for time travel, including the fact that calls can only be made to the past, that a user cannot call the same date twice, that a first-time user will levitate in the air, that lighting can cause problems, and that only they will be aware of changes in the present after the call. But don't worry about keeping in mind these guidelines—even Adhik doesn't take them seriously.
Mark Antony’ Tamil movie
What is it about Tamil movie heroes that they don't seem to comprehend even the most basic time-travel laws? Only a few weeks after GV Prakash's irksome Jeeva in Adiyae, Vishal plays Mark, a figure who neither comprehends time travel nor finds any true solace in writing.
You would even expect Mark to comprehend the dramatic changes following a life-altering time-travel trip, but why bother when he can shake a leg with his ex-girlfriend Ramya (Ritu Varma), a needless damsel-in-distress who gets very little screen time. Many of the characters in this movie express their emotions in a single, frequently loud note: Mark squeals or shudders, Jackie yells, Antony talks in a low voice when necessary, and Madhan falls somewhere in between.
There is nothing particularly enjoyable in Mark Antony—aside from Suryah's lovely presence and a few excellent masala moments—but it might have been that outright zany entertainer that lets you forget any logic flaws. The script keeps you waiting for something unexpected to happen—something that defies genre conventions or makes up for everything that's been lost—but it never does.
Mark Antony’ Tamil movie Download
And things only get worse when Vishnu Priya Gandhi, a graphically altered lookalike of the late actor Silk Smitha, is introduced for cheap laughs; she is constantly made to speak with a seductress' modulation, and even Vishal's dialogue that appears to be sympathetic about what Silk, a.k.a. Vijayalakshmi, experienced can't hide all the irony in what happens next.
Adhik has a history of stirring up controversy and is well known for his crude filmmaking, and Mark Antony is no exception. A ruthless, womanizing mobster from the 1970s like Jackie may not be expected to understand queers, so you might overlook his homophobic discourse.
But why wouldn't a filmmaker in 2023 find it difficult to comprehend that a song featuring transwomen just serves to further the fetishization or mockery of these women in society? The poisonous cliché of antagonizing queer characters is again revived when the same transwomen beat to death an effeminate homosexual character (Y. G. Mahendran) and the same transwomen attempt to kill the main character.
