2.0

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Movie Info

  • Director: S. Shankar
  • Actors: Rajinikanth, Akshay Kumar, Amy Jackson
  • Music: A.R. Rahman
  • Cinematography: Nirav Shah
  • Edited by: Anthony
  • Produced by: Alla Belaya, K. Karunamoorthy

Movie Reviews

2.0 – An Extravagant Visual Treat Backed By An Average Story

Movie Review by Trijai Nerthi (Rocheston Certified Movie Critic)

Directed by Shankar, 2.0 is a scientific-fiction fantasy film starring Rajnikanth, Akshay Kumar and Amy Jackson in lead roles. If you thought Superstar Rajinikanth is the hero of 2.0, you are wrong. If you thought the script was the hero instead, you are still wrong. The true hero of this film is the magnificent VFX and the imagination with which it has been conceived. Every other aspect of 2.0 simply fades in comparison. Just to witness this advancement of technology for the first time in Indian cinema, one can head on to the theatres with their family to watch this otherwise average entertainer.

2.0 starts off from just where Endhiran left us. Vaseegaran (Rajnikanth), the scientist is still busy in his laboratory, but from then to now, he has invented Nila (Amy Jackson), a robot invented to make the domestic lives of humans easier. One day, Vaseegaran and every other citizen in India seem to have their mobile phones snatched from them and vanish into thin air. On investigation, it is revealed that the ghost or aura of Pakshirajan (Akshay Kumar) is behind this monstrous mishap. They discover that Pakshirajan is out to destroy the human race as a whole. What follows next is Chitti’s resurrection in order for the robot to save the day and the reasoning behind Pakshi’s inextinguishable anger.

One of the foremost aspects that confuse you about 2.0 is its depiction of the film’s hero and villain. The villain has all the characteristics of a hero and the hero seems to be a glorified corporate slave. So, this very aspect makes it quite hard for you to adhere to the story and the manner in which it plays out. Pakshirajan clearly does not deserve the fate he meets with. Similarly, Chitti 2.0 might have set out with the ambition to save humanity but by doing this, it only bows down to the corporate giants who wield supreme powers in developing countries like India. This confusion brings you to the bigger question. What is the director trying to stay through a story like this one? Does he mean to say that no matter how much damage these corporates cause to the environment, you must give him a slight nudge in the right direction but never oppose them directly? Is he trying to say that the anger of social activists like Pakshirajan is misplaced? This lack of clarity in the direction of this story ensures that you never get fully invested in the film.

Let’s admit it, all this scientific justification of the presence of a human’s aura is just a technical way to refer to a ghost. So, 2.0 might try to cleverly disguise itself as a science fiction. But many segments of the story contradict its scientific claims making it a film about a ghost, at the end of the day. Such contradictions should’ve been sorted by the director.
The manner in which the climax has been executed is surely bound to appeal to children. It is entertaining for adults to sit back and watch too. But is it a new and novel concept? It’s definitely not. For ages, Villains have been resorting to blackmail with use of a loved one’s life and 3.0 does the same. Only, you are told that 3.0 is the hero blackmailing the villain. Can you sense the confusion of the audience?

Nevertheless, 2.0 is definitely a step up in comparison to the director’s I. When you compare it to Rajnikanth other films like Kaala and Kabali, 2.0 is much much better. Just for bringing to life magnificent and larger than life visuals, Shankar deserves a heavy round of applause. The creativity that has gone behind the visual effects itself makes your visit to the theatre worthwhile.

As, Vaseegaran, Rajnikanth has little scope to perform. In this sequel, Vaseegaran’s character is quite a bore. But as Chitti 2.0 and 3.0 he brings back the villainy that once brought praises his way in Chandramukhi. As Pakshirajan, Akshay Kumar’s lip-sync is way off the mark. But his screen presence though short-lived is quite moving. His negative aura, however, seems to be easily outsmarted. As the domestic robot Nila, Amy Jackson plays her character with ease. This seems to be the only role that fits her limitations as an actress.

Technically, 2.0 is mind-blowing. Its VFX, title design, cinematography, and production design are done with utmost clarity and imagination. Scenes of the mobile phones attacking prominent people seem to have been conceived quite artistically. The scenes involving Chitti and Pakshi’s face-off are an extravagant visual treat. The editing is in line with the fast-paced narrative, setting the rhythm to create visual suspense.

On the whole, 2.0 is an extravagant visual affair that is bound to be enjoyed by families. But if you expect the perfection of the visuals to reflect on the story, you will be disappointed.

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