based in 1995. The mechanic Mark (Vishal) thinks his father, the vicious mobster Antony (Vishal), killed his mother. His father's friend Jackie Marthand (SJ Suryah) nurtures him, and Mark starts to think of Jackie as a father figure. Like Antony, Jackie is a father to a boy named Madan (SJ Surya). Ritu Varma's Ramya, Mark's girlfriend, is likewise liked by Madan. Mark finds a box inside the automobile when Ramya asks him to fix her father's vehicle. Inside the box is a telephone that scientist Chiranjeevi (Selva Raghavan) built that allows users to communicate with people from the past. The remainder of the narrative focuses on how Mark's life is altered by this phone and how he discovers the truth about his mother's murder.Its most creatively choreographed scene before the interval gives you a hint as to what Adhik Ravichandran's Mark Antony might have been. Vishal is shown beating his opponents to the sounds of Ilaiyaraaja and Kamal Haasan's "Varudhu Varudhu" from Thoongathey Thambi Thoongathey (1983) at a dilapidated club from the 1970s. A clip from the 1990s (the present) is spliced in with the disco's flickering yellow lights; in this scene, a younger Vishal is the victim of the same beating. The moment lasts nearly the whole duration of the gloriously retro disco song, which Adhik picked because it is from a movie with another famous actor playing two roles: Kamal Haasan. The settingOne of the best examples of a misfire brought on by excesses is Mark Antony. Scientist Chiranjeevi (Selvaraghavan) is shown in the beginning of the movie working alone in his room to create a time-traveling device. In contrast to his predecessors, he is not interested in creating a teleportation device. He enjoys using a phone call to change the past. Chiranjeevi is gloriously extravagant in every way. The filmmaker straddles the fine line between creativity and insanity, from his absurd wig to the theatrical way he writes the fundamental guidelines of his machine. Even the slightest backlash would have been enough to make fun of its absurdity, but this absurdity is purposefully funny.I saw the Korean movie The Call about a year ago. It was about a lady who uses a phone call to travel across time. I used to think that a story like this would make excellent fodder for a Tamil entertainer. For two and a half hours, Mark Antony—which is based on the notion of a phone call that travels back in time to connect people—taught me how incorrect I was. This is true even if SJ Suryah played the role of a charming gallery goer. At this point in his acting career, SJ Suryah has very little room for error. Where someone else might come off as comically ludicrous (almost as though they were parodying Sivaji Ganesan, what with the man's incredible devotion to every scene),The movie occasionally slips in a tearful scene or two, like a mother and son chat or a father-son reunion, between the loud screams and soundtrack. Additionally, the background music hilariously switches up to a manipulatively melodic tune. But in all honesty, the sensory onslaught is so intense that there isn't even the slightest moment or mental space to feel bad about such decisions. When Vishal, who plays Antony, kneels in servitude in a scene that is meant to genuinely affect us—his wife is crying—the movie implies that his character is under the influence of a guardian deity named Karupanna Saamy before you can decide whether or not to take it seriously. and further assault should follow that signal. I spit my coke at a picture of Vishal sprinting in between..