While I reiterate that the jokes work because of how unabashedly silly they are, regardless of how much leeway you extend, the writing keeps pushing the limits of silliness, which works both in its favour and against it. A significant part of the humour is derived from popular media and some of these references feel out of place and extremely forced. At one point, even one of the film’s production houses, UV Creations, is referred and you’re left wondering why.
Moreover, I’m not sure if we can call OBB a ‘clean’ comedy, considering the ‘liberal’ dosage of double entendres throughout the film, with gags existing to pander to the youth. But do we still believe that sly sexual innuendoes — a woman warning a man that she’ll cut his prawn and fry it, to name one — qualify as humour? Or perhaps this disappointment emerges from my expectation mismatch because OBB is Sree Vishnu’s follow-up to Samajavaragamana, which was a much cleaner family comedy, lending the ‘family hero’ tag to the actor.
Although Sree Harsha Konuganti’s previous two films were heavily targeted at youth, there is a clash between this ‘clean family-friendly’ humour and randy comedy aimed at young adults in OBB. As a result, it’s hard to put OBB’s humour in one box — there are plenty of raunchy jokes while there is also the wordplay/slapstick kind. While I wouldn’t necessarily call the humour distasteful, some of them are a bit crude. On a horror level, though, the film works just fine with the second half housing some hilarious sequences bringing these two facets together. There are two particular sequences, each featuring Priyadarshi and Rahul Ramakrishna, that are a riot.
