Cast: Rajinikanth, Akshay Kumar, Amy Jackson
Director: With Shankar
Rating: 2 Stars (of 5)
Is back. This time Chitti is recharged and ready to face the forces that exclude mobile phones and transmission towers from Tamil Nadu. The battle between good and evil, between nature and technology, plays more than two and a half hours in a zone where all the dividing lines are blurred in a way that creates the possibility of many interpretations. But because the narrative is, well, robotic, frantic action sequences rarely touch the heights that flying mobs reach. The film talks about the sad reality of sparrows that have disappeared from our metropolises – a topic that has been excluded from newspapers and social media platforms – but the urgent nature of the debate is buried deep under the spectacular, impressive demo of animatronics, special effects and prosthetics.
Eight years is a long time in a movie star's life. But for Rajnikanth, any hiatus can only be a flash.2.0, director and co-author of screenwriter Shankar builds on 2010 Enthiran (Robot in Hindi) materialized after the Tamil supernova cinema used a long break to appear in four films (Kochadaiiyaan, Lingaa, Kabali and Kaala). It had been a long time for Doctor Vaseegaran to challenge Chitti's thinking robot. The film and its star show clear signs of wear and tear. For fans of Rajnikanth, however, it should not be a minor irritation.
The Mysterious Power – its creation is embedded in the movie opening program, in which one hangs from the tower – is excluded from mobile telephony from the face of the earth. Towers are uprooted and crushed. Phones fly from the hands of their owners and turn into destructive waves. The city is in complete chaos. The army is called, but the soldiers draw a blank space. A good scientist is involved to stop an imminent catastrophe. He advised Chitti to come back from the dead. That, he says, is the only effective way to fight a new threat. His plan is reflected in elements in the administration, but as things begin to get out of control, Vaseegaran will secure a free hand.
"Maut was lautne mauza kuch aur hi hai (nothing can match the joy of returning alive from death), "says Chitti in the Hindi version of the dialogue (writer of the dialogue: Abbas Tyrewal) shortly before declare:" I am the one, the super. Nila (Amy Jackson), who faces himself, plunges into the universe of two key characters – the unbeatable robot and his brilliant creator – with his power. drop in his enthusiasm and conviction in the project. In the fans sold on Rajnikanth's unstoppable stellar sangfroid might have reason to feel somewhat shortchanged.
With Akshay Kumar, in his first southerly stream, he radiates both stellar energy and emotional energy in the second half of the film as an aging ornithologist who lives on a rapidly exhausting number of birds, and then as a retriever for murder deaths, 2.0 would be considered an improved , a stronger version of its predecessor if the plot was a bit more convincing. Bunkum is a bunk no matter how big the money is.
Of course, director Shankar has a desire to conceive fantastic and unreal feelings of human dilemmas. It brings this attribute into the full game in solving the damage that cellular radiation causes to the environment. But the frustration of activists struggling to save birds but failures in its mission is not exacerbated to justify the murderous crusade that Pakshirajan (Akshay Kumar) launches against vendors and mobile phone users. The surface of the comic's current of war is manifested in the way he kills a wholesaler, the tower owner, and the telecom minister: one smithereens smuthereens, the other squeezed in pulp, and the other literally poisoned with a diamond scarf phone.
Amy Jackson, as a super-efficient robot that is in place and all of her master, is reasonably mechanical, but powerful enough not to be thrown out of this science-fiction action movie designed primarily for Rajnikantha, screen persona.
Supporting actors in Rajnikanth have a limited purpose. There is no difference 2.0 although the film's cast includes Adil Hussain in the role of Interior Minister, a person charged with formulating a response to cell phone attacks. But his agency is quickly taken away from him while Vaseegaran, Chitti and Nila take over as a strong opponent threatens to cross the city.
So is this the most expensive Indian movie ever to be mounted for all the money it got into it? It looks and greatly sounds great. It flowers through breathtaking action and dazzling VFX. 2.0, but it would be a much bigger movie if the script dared to go beyond the familiar tricks of this genre. There is a hint of romantic entanglement between Chitti and Nila, both of them capable of feeling and expressing love. But this song remains an insignificant subplot in a movie where baddie is the Bollywood star of the A-Sheet and must be part of a remarkable piece of action, especially when it enters after a break.
True vs. bad tropics 2.0 but the battle in the heart of the movie – it breaks the disrupted model of development against the need for ecological preservation in unconditional fantasy – has moments that are immediately provocative and fun. But even for Rajnikanth, pulling this irregular, dirty epic out of the fire is no cakewalk. It comes very close. Watch 2.0 for its scope and ambition, if not for the superstar who can not do anything wrong.