Genre specificity is not yet a widely accepted concept in Tamil cinema. More than not seeing that as a corruption of an artwork, mixtures of genres, if done right, are the most celebrated films in this part of the world. Hits and flops are determined mostly by this factor. Director Manivarman's fails to even capture the nuances of the horror subgenre.

begins with an illustration of the biblical belief of Satan and the Antichrist and how he comes into being. The scene then shifts to Ajay (Taman Akshaan) and his wife, Riya (Malvi Malhotra), in a villa-like residence along with their friends, who are also a couple, played by Maithreya and Raksha Cherin. Ajay is an assistant director who struggles to find an opportunity to direct a film. Even when a producer is interested in his story, he is at loggerheads with the producer in terms of executing his vision. Meanwhile, a politician (Vela Ramamoorthy) is running pillar to post to win in his constituency again and takes the help of his PA (Kaali Venkat) to distribute the cash among voters. The PA, who is generally honest and straightforward, must hide a portion of the money for personal needs. In a turn of events, the leads and their friends gain access to the secret place to improve their finances. Do they take the money, and more importantly, do they manage to leave the place? These questions form the crux of .

Problems with the film begin from the word go, with the character introductions. If not for convenient writing, we wouldn't be seeing a 'struggling,' 'hustling' assistant director living in a palatial building. As the plot unravels, their residence serves a purpose. The purpose of burying a dead body in their huge garden. If Ajay lives in a compact rental house, which should ideally be the case for an AD who aspires to make it big, the purpose mentioned above would not have been fulfilled. The film is replete with such convenient writing choices. This one aspect in the screenplay disengages us right at the beginning and tries in vain to regain our attention for the whole runtime. To make things worse, there is the unnecessary, weak and bog-standard subplot involving Munishkanth, who is also in pursuit of the money.

is an uncalled-for inspiration from the classic , featuring a runtime of two hours, out of which a good 45-50 minutes are dedicated to running around an abandoned building in search of money. Yet another example of convenient writing. A dying person divulges information about this place to the female lead. When the person can tell all about his tragedy, he could have also revealed where he has stashed the money. But the writer chooses to leave such gaping holes in the screenplay. The conflicts faced by the characters inside the building could have been placed elsewhere, or the film would have still been better off without any of the drama occurring there. Jump scares are a characteristic feature of horror films that transition from a state of normalcy to possession and ultimately to exorcism. However, this does not apply to movies that focus on biblical demons, such as or even the 1991 film , which is based on Richard Donner's 1976 film. The 50 minutes were solely meant to evoke campiness and jump scares, thereby doing injustice to this subgenre.