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Language: Tamil, Hindi and Telugu
Director: Shankar
Distribution: Rajinikanth, Akshay Kumar, Amy Jackson
Rating: 3.5 / 5
This is not entirely fair, but we can not help but compare the consequences to the first tranches. The main objective of the follow-ups should be at least to align the vertices of the first part.
Shankar 2.0 early, lacks the rhythm of Enthiran, released eight years ago. The scientist Vaseegaran (Rajinikanth), creator of the popular robot Chitti (Rajinikanth again), is entrusted with a singular case to solve – Chennai stops while the cell phones of all the houses begin to disappear. Why is someone (a force?) So obsessed with mobile phones?
Shankar's usual idea of killing people in power to stir up suspense is starting to get bored. So we have murders – of a minister, a telecommunications giant and a mobile shop owner – each brutally perishing in different ways.
The first half has its moments. Shankar is an expert to get us to invest in great concepts. It shows perfectly the chaos and despair of spending a whole day without a mobile phone. But the director also does too much: a silly villain (Sudhanshu Pandey plays the son of Professor Bohra) who hates Chitti, a Minister of the Interior (Adil Hussain) who has no idea of the situation and a sequence of action defense involving the army – we are exhausting too soon.
Even if we are not even allowed to fully enjoy the introduction of Chitti 2.0 gets back on track as soon as the charming robot comes into action. Despite the narrative detours, the first half is above average only because of the technological greatness. It's the best 3D movie of the country. The staggering interval scene, where Pakshirajan (Akshay Kumar receives a thunderous introduction) is unveiled, raises the film.
The second half begins with the typical backtracking of the film Shankar, immensely viewable. Jeyamohan's dialogues and the astonishing conception of production (the birdhouse is a delight) are the highlights of this carefully crafted game. Shankar finally makes us take care of his characters. And then the tempo begins to rise. We get what we are looking for in a Shankar-Rajini combo: moments of mass and goose bumps.
Shankar packs a surprise after the other by turning around 2.0 in a great experience. The first confrontation between the two big actors takes place at night in the middle of a busy street and it's great. This is reminiscent of a famous scene from the director's previous film Anniyan but it's still super engaging.
The "Chitti villain" will surely receive a warm welcome and Rajinikanth will offer us a fun ride as a machine to play. 2.0 gives a new twist to Rajinikanth's career. The ageless star, under pressure with a series of flops, hangs strongly. He means business in 2.0 and the Superstar is comfortable in four roles (the fourth is a character cracker).
Akshay Kumar defends himself with a convincing performance. It's not always easy to play in a Rajinikanth movie and get your due. The presence on the screen of the Superstar can overshadow a serious effort, but Akshay delivers a memorable act.
Shankar, the imaginative monster, is at its best in the heyday. The highlight of 2.0 will be hard to match, even by the country's greatest director. With 2.0 Shankar continues to push the limits of handling technology. The writing lacks a bit of punch. But 2.0 do not forget to entertain.
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