'Anukunnadhi Okkati Ayyindhi Okkati' shows up today in the cinematic world. Here we present its audit.
When Dhanya Balakrishna (a corporate worker), Tridha Choudhury (a columnist), Siddhi Idnani (a housewife), and Komalee Prasad (an outfit architect) travel to Goa for no particular reason, things go amiss after they book a male whore for a night of fun. Confronted with a risk, one of the ladies unintentionally murders him off, an episode that sets off a progression of comic and genuine outcomes. What right? Can the four ladies spare themselves from the cop (Sameer) who smells a rat? Answers to these inquiries are found in the subsequent half.
Debutant chief Baalu Adusumilli makes 'AOAO' essentially as a female grown-up wrongdoing satire. There happens a homicide that can trap its female leads and get them in a correctional facility. In any case, similar to the case with most spine chillers, there is something else entirely to the homicide than what meets the eye.
The film has a place similarly with Dhanya, Komalee, Siddhi and Tridha. Komalee finds a good pace, while Dhanya attempts to rule the scenes with her mien and language. The entertainers manage with grown-up jokes, some strained minutes, and a peak where at any rate three different characters have a task to carry out.
While the reason is okayish, the manner in which the procedures work out fail to impress anyone. The anticipation scarcely arouses an edge-of-the-seat feel due to the manner in which the wrongdoing is arranged. Minutes after the homicide, the characters keep on kidding around and it's hard for the crowd to be sucked into their circumstance in such an arrangement.
The manner in which the cop's character is presented and his starter commitment is intruded on, it's each of the an obvious hint. The peak ties the remaining details however the way Lobo, Basha (as a bellboy who overcompensates his sexual fixation for Siddhi), Himaja and others wrap it up, it looks all weak.
The explicitly baffled Siddhi exaggerates her irritation with any individual who utilizes the word 'time' simply because her barren spouse is fixated on dependability. One character continues utilizing the word 'dry foods grown from the ground' dry 'humor' sucks. A pornography star named Padma Shree says that she is roused by Shyam Gopal Varma in turning into a pornography star in light of the fact that SGV (a sideways reference to RGV) watches pornography with 'paachi moham'. Dhanya drops out with her sweetheart since he is too unromantic to even consider kissing her freely. Raghu Karamanchi plays a "clique" movie producer who needs to sex up a dead body by enveloping it with a bathing suit.
'AOAO' takes disgraceful jokes so too genuinely that such "humor" represents the majority of the substance. Had the subsequent half discarded "parody", there would have been extension for reality. The four ladies with common foundations don't perspire in any event, when they are in one of the most unenviable circumstances possible.
'AOAO' hurls trashy specialized components, be it Vikas Badisa's music or Shekar Ganganamoni's cinematography.
The film is a wrongdoing satire that is habitually cowardly and comprehensively unsurprising. During a time of spine chillers, it ought to have given us a few novel components.