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Jeter: Rajinikanth, Akshay Kumar, Amy Jackson
Director: S Shankar
Evaluation: 2 stars (out of 5)
He is back. This time, Chitti is reloaded and ready to face a force to eliminate mobile phones and mobile phone towers from Tamil Nadu. The battle between good and evil, between nature and technology takes place over two and a half hours in an area where all lines of demarcation are blurred, creating the possibility of multiple interpretations. But as the narrative is well robotic, frenetic action sequences rarely reach the heights achieved by flying mobiles. The film speaks at length about the sad reality of the disappearance of the sparrows of our metropolises – a theme mentioned in newspapers and social media – but the pressing nature of the debate is buried under an impressive and animatronic demo, of 39, special effects and prostheses.
Eight years old is long in the life of a movie star. But for Rajnikanth, any interruption can only be dazzling.2.0followed by Shankar, director and co-writer until 2010 Enthiran (Robot in Hindi), it is materialized after the supernova of Tamil cinema used the long pause to appear in four films (Kochadaiiyaan, Lingaa, Kabali and Kaala). It's been longer than it took Dr. Vaseegaran to evoke Chitti, the thinking robot. The film and its star show obvious signs of wear. For Rajnikanth fans, however, this should not be more than a minor irritant.
Rajinikanth in 2.0
A mysterious power – its genesis is established in the opening sequence of the film in which a man hangs from a cell tower – seeks to eliminate mobile telephony from the surface of the earth. The towers are uprooted and crushed. The handsets steal from the hands of their owners and turn into a destructive wave. A city is plagued by complete chaos. The army is called but the soldiers are emptying. The good scientist is committed to ending the imminent calamity. He advises bringing Chitti back from the dead. This is the only effective option in the fight against the new threat, he says. Elements of the administration oppose his plan, but when the situation starts to get out of hand, Vaseegaran frees himself.
"Maut se zinda lautne ka mazaa kuch aur hi hi (Nothing can equal the joy of coming back alive from death), "says Chitti in the Hindi version of the film (dialogue writer: Abbas Tyrewala) just before declaring:" I am the only one, the super. "Who dares to question him? Absolutely not humanoid Nila (Amy Jackson), another creation of Vaseegaran. At first glance, the main actor delves into the universe of two pivotal characters – the invincible robot and his brilliant creator – with all his strength, his enthusiasm and his confidence in this project are shrinking sharply: fans sold on Rajnikanth's relentless starry sangfroid could therefore have reasons to feel a little wronged.
With Akshay Kumar, during his first foray into the south of the country, revealing both the power of stars and emotional energy in the second part of the film, under the guise of an aging ornithologist living at the rapid depletion of the number of birds, then seeking to avenge the avian deaths, 2.0 would have been considered an improved and stronger version of his predecessor if the plot had been a little more convincing. Bunkum is a bunkum, no matter the size of its budget.
Akshay Kumar in 2.0
Of course, director Shankar has a penchant for fantasy and unreal human dilemmas. It fully utilizes this attribute to remedy the damage caused by cellular radiation to the environment. But the frustration of the militant struggling to save the birds but failing in its mission is not sufficiently revealed to justify the deadly crusade launched by Pakshirajan (Akshay Kumar) against the sellers and users of mobile phones. The cartoon superficiality of his war is manifested by the way he kills a wholesaler, a transmission tower owner and a telecommunications minister: one burst to the extreme, the other reduced in porridge and the other literally poisoned with a cell phone encrusted with diamond phone.
Amy Jackson as a super-efficient robot who is at the check and all her master is both mechanically well done and done just enough to not be overwhelmed by this sci-fi action film designed primarily for Rajnikanth screen persona.
Amy Jackson and Rajinikanth in 2.0
Supporting actors in a Rajnikanth vehicle have a limited purpose. This is not different in 2.0 Although the cast of the film includes Adil Hussain in the role of Interior Minister, a man responsible for formulating an answer to the attack of cell phones. But his agency is quickly withdrawn while Vaseegaran, Chitti and Nila take power while a powerful opponent threatens to invade the city.
So, the most expensive Indian film ever mounted is not it all the money spent on it? It seems and sounds good for most. It whistles thanks to the breathless action and the dazzling VFX. 2.0however, would have been a much bigger film if the script had dared to go beyond the known tricks of the genre. Chitti and Nila seem to be entangled in a romantic atmosphere, both able to feel and express their love. But this track remains an insignificant subplot in a movie in which even the villain is a Bollywood star and must be part of a respectable part of the action, especially when he only makes his entry into the world. After intermission.
The trop-good against the tropes who 2.0 the jobs are mundane, but the battle at the heart of the film – a distorted development model and a need for ecological conservation in a fantasy world – has both stimulating and entertaining moments. But even for Rajnikanth, getting out of this erratic and messy epic is not a good deal. He comes close enough. Watch 2.0 for its scale and ambition, if not for the superstar who can do nothing wrong.
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