Synopsis: Kadar (Kishore) and Sunil (Madhu) are forced to move to Bangkok for six months. They run into Krishna Krishna (Chaitanya) and Yuvak (Harish) and then it's sheer madness all the way.

Movie Review: The movie begins with a disclaimer. "Ee cinema lo patalu inka background score ekkado eppudo vinnattu anipinchachu. Adi kevalam kalipithame, maa vennela Deva Katta ki ankithamau." But it doesn't quite prepare you for the barrage of innuendo-less-adult-comedy that follows. It's hard to find words to describe the brand of the "boys-hostel-bathroom-humor" that you get to see in this movie. In fact, a lot of the movie plays out in the bathrooms of Bangkok.

Kadar and Yuvak show us how two grown up men can share the same commode for their morning ablutions at the same time and leave without flushing! That's not all, you have half naked men sharing a bathroom with just one soap and at least a dozen shots of men peeing all over the place facing at the camera, scratching arm pits, getting kinky with "she-men" ... if you want more, you can watch the movie and indulge.

It's a new benchmark for depravity on screen. The movie seems like a pretext to let a bunch of ugly men get grotesque on the 70mm. Our Kadar makes Stiffler (from American Pie) seem like a decent fellow.

For those of you who are interested in the story, there is a love story at the centre of it all. Must say, the rather dainty Vennela (Monal Gujjar) looks like a misfit in this bawdy scheme of things. Vennela is engaged to a Shravan, a well-to-do robotics expert based in Bangkok. Krishna Krishna (that's his name!) is smitten by her and tricks her into falling for him. But Vennela is heart broken to discover that Krishna does it at the behest of her father and that he is in fact, a love guru who makes a living out of breaking up relationships. She promptly dumps him and goes away. But our man realises he is truly in love with her. Kadar and Sunil decide to help their friend win back his love.

The performances vary from loony to queer. It would be unfair to call it acting. What the characters just indulge in is absolute tom-foolery of degenerated variety. Chaitanya has a presence, but really has nothing much to do as does Monal. Let's just say, the other departments are in tune with the rest of the film.