Executive: S. Shankar
Cast: Rajinikanth, Akshay Kumar, Amy Jackson, Sudhanshu Pandey
Is there such a mind-bending concept as an over-rich creative energy? What is that tipping moment that astonishing winds up depleting? Furthermore, what number of forms of Superstar Rajinikanth would one be able to film juggle effectively?
I battled with these inquiries when I ventured out of 2.0 – the spin-off of the blockbuster Enthiran or Robot, discharged in 2010. Shankar has made an extraordinary scene that is on the double, a wake up call against our over-reliance on mobile phones, an eco-tale about how basic flying creatures are for human survival and a treatise contending for the fair utilization of innovation. It’s additionally a demonstration of the brightness of Shankar himself who is resolved to give us an incredible ride and to the stunning charm of Rajinikanth who shows up as Dr Vaseegaran and a few variants of the robot Chitti. There’s additionally Akshay Kumar as the baddie Pakshi Rajan – he’s successfully threatening and the look, particularly the avian eyebrows are fatal. Could this birdman be film’s first ornithologist miscreant?
2.0 is a tangible over-burden. The film has more than 2000 embellishment shots. It’s the first occasion when that an Indian film has been shot in 3D. What’s more, for the primary hour in any event, the visuals are sleep inducing. The possibility of PDAs turning on people is virtuoso. Shankar bung in disposable lines that solidly set up our dependence on our gadgets – one lady asking the cops to enable her to recover her missing telephone says she had snared it to her mangalsutra and lost that as well. Another man asks – I Phone ke lie alag segment hai? It’s clever and disturbing on the grounds that we as a whole realize this is actually the situation that would play out in the event that we needed to live without our telephones for multi day.
We witness demise by mobile phone – truly. Shankar, who has additionally composed the screenplay, develops to the presentation of Pakshi Rajan, his backstory and his association with fowls. Through the main half, we are just observing a huge number of telephones flying together to make a winged animal like animal. The anticipation is cautiously built. In any case, what Robot had and what 2.0 needs is a compelling passionate remainder. The main film handled complex thoughts of human feelings and hubris and what happens when the creation turns on the maker. 2.0 is outwardly overwhelming – the VFX are for the most part top notch – however the screenplay doesn’t offer the consistent blend of sentiment, show and satire. A portion of the composing is languid. In spite of the fact that Amy Jackson’s giving a role as the humanoid robot Nila will make you grin. She’s reasonably articulation free. Obviously, ladies have little to do here – in one scene, Dr Vasi alludes to Nila as a PC.
The vigilante topic, a consistent in Shankar motion pictures, is rehashed once again. Post-interim, we go into a flashback inside a flashback to find why Pakshi Rajan is the kind of person he is. Heaps of language is hurled in and at a certain point, there is a dialog on positive signs versus negative Shakti and smaller scale photon less passing ka air or something to that effect. My head began to hurt.
Shankar’s film particularly joins scale with a social message. Just on the off chance that you’ve overlooked the main issue of this film, at last, Dr Vaseegaran illuminates it once more. Like everything else in 2.0, it’s a tiring overdose.
Be that as it may, you have to see the film just to perceive what aspiration and creative ability and the conjunction of capable craftsmen – among others, VFX chief Srinivas Mohan, cinematographer Nirav Shah, sound originator Resul Pookutty and manager Anthony – can make. What’s more, obviously, you have to see it to welcome the solitary impression that Rajinikanth keeps on being. At a certain point Chitti announces – bhag jana negligible programming mein nahin hai. That is my new aphorism.