2.O Movie Review
Rajinikanth as Vaseegaran, Chitti ,Akshay Kumar ,Amy Jackson ,Sudhanshu Pandey ,Adil Hussain ,Ganesh ,Anant Mahadevan ,Kalabhavan Shajohn ,Kaizaad Kotwal ,Mayilsamy, Sanchana Natarajan ,Maya S. Krishnan ,Savitha Reddy etc.
Director – Shankar,Producer – A. Subaskaran ,Written – Shankar ,B. Jeyamohan (Dialogues) ,Screenplay – Shan kar ,Story – Shankar , Music – Songs : A. R. Rahman ‘Score: A. R. Rahman ,Qutub-E-Kripa ,Cinematography – Nir av Shah,Editeder – Anthony ,Production company -Lyca Productions ,Distributer -Lyca Productions ,Dharma Pro ductions AA Films etc.
A man, surrounded by birds, hangs himself to death at a cell site. Elsewhere, the scientist Vaseegaran introduces Nila, his new android, to a group of students. Suddenly, their mobile phones start flying, exhibiting avian char act eristics. Before long, mobile phones all over Tamil Nadu begin to fly, leaving the state in chaos. At an emerg ency council meeting initiated by the government, Vaseegaran enunciates that it is beyond conventional science to fig ht such a fifth force, and proposes reinstating Chitti, which was dismantled in 2010. However, Dhinendra Bohra, who lost his father Professor Bohra to Chitti’s anger,[a] opposes, and the council decides to seek help from the mi litary, thereby vetoing Vaseegaran’s proposal. However, the military is attacked by a swarm of mobile phones.
The growing stream of mobile phones leave havoc in its path, killing a mobile phone wholesaler Jayanth Kumar, a transmission tower owner Ranjit Lulla and the state’s telecom minister. To prevent further damage, Vijay Kumar, the Home Minister, unofficially gives Vaseegaran permission to rebuild Chitti again. Chitti traces the mobile pho nes, which have taken the form of a giant crow, and they fight, during which Chitti’s battery power is depleted an d it starts searching for a power source amongst three huge signal transmitters. To Vaseegaran’s surprise, the cr ow is unable to penetrate the field of transmitters and suffers damage when attempting to do so.
Vaseegaran then learns from Chitti that the bird is powered by a body of negative energy, or aura, of a single human being and numerous birds. The radiation from the antennae and other living organisms are positively-ch arged aura while the dead are negatively-charged, allowing the parabolic antennae to repel the bird. Had it en tered the electromagnetic field, the combination of both auras would neutralise the bird, preventing it from rea ssembling. With this in mind, Vaseegaran replicates a smaller version of the antennae and sets off to an aba nd oned house in Tirukalukundram with Chitti and Nila to destroy the bird. When the neutralisation process is ab out 50 percent, the bird weakens and then reassembles into a human, who calls himself Pakshi Rajan.
Pakshi Rajan used to be an ornithologist who owned the now abandoned house where birds would come and live with him. The growth of the mobile phone industries and the radiation from the newly set up cell sites gradually kill the birds. Pakshi Rajan then visits Jayanth Kumar, Ranjit Lulla and the telecom minister to request them to li mit their activities but to no avail. He also organises conferences and protests against mobile phones for the favo ur of birds, but no one supports him. Eventually, all his birds die, and a distraught Pakshi Rajan hangs himself to death from a cell site. His life energy, along with the dead birds, combine together to form an aura that manipul ates mobile phones into any form by electromagnetic radiation.
Chitti empathises with Pakshi Rajan, but asserts that he should not kill people. Pakshi Rajan declines, and att acks him. Chitti reactivates the antennae and neutralises Pakshi Rajan, storing his energy in a containment cir cuit. This feat helps Vaseegaran’s cause and the Home Minister legalises Chitti. He also orders that androids like Chitti be made for the Indian Army. Jealous of Chitti’s resurgence, Dhinendra sneaks into the Artificial Inte llige nce Research and Development (AIRD) Institute and frees Pakshi Rajan’s aura from the containment circuit. The aura enters Vaseegaran, enabling Pakshi Rajan to possess his body and attack humans. Chitti hesitates to kill hi m, as it would mean killing Vaseegaran too. Taking advantage of this, Pakshi Rajan disassembles Chitti.
Nila takes Chitti back to the lab and rebuilds its body, replacing its microchip with the red chip created by Bo hra,whi ch results in Chitti’s violent configuration, version 2.0, being in control. Nila constrains it from har ming any one but Pakshi Rajan. Chitti then creates more versions of its likeness. Pakshi Rajan meanwhile takes over a cro wded football stadium and exposes Dhinendra to radiation, killing him. Chitti and its army of robots arrive an d confronts him, resulting in a battle between the two. However, its battery drains, and it rushes to the power sta tion. During this time, microbots resembling Chitti, called as Kutty Chitti version 3.0, arrive mounted on whi te pigeons, distracting Pakshi Rajan and separate his aura from Vaseegaran.
The microbots lead Pakshi Rajan’s aura to the antennae, where he is eliminated. Vaseegaran recovers in hospital and tells Vijay Kumar, who comes to se e him, that he feels Pakshi Rajan was a virtuous person who became a victim of the corrupt society. He also sug gests that everyone should limit the use of phones, and conserve the lives of birds as much as possible. Chitti, no w restored to its inceptive version, begins a relationship with Nila, to which Vaseegaran gives his consent. In a Sa na asks Vaseegaran if it was possible for the mobile phones to fly again. Immediately, Vaseegaran’s mobile flies out of his hand and morphs into Kutty Chitti, saying, “Naan unnoda peran” (I am your grandson).
Rajinikanth 2 0 cinema relize festival in Chennai Public Review
Watch The Trailor-;
As many have seen in the trailer, all the cell phones vanish into thin air and turn into a giant crow. Who is behind this and how Dr Vasikaran with the help of Chitti – The Robot saves the city and humanity is what the film is all about? How Is Rajinikanth’s Performance? As usual, and as expected, 2.0 is Superstar Rajinikanth show all the w ay. His entrance may be simple and casual, but he leaves the screens with a bang that is sure to reverberate am ong the audience’s mind. There are the three variations on display like it was in Robo. There is the pure and, sugg esting neutrality, Dr Vasikaran, then the good and bad Chitti – The Robot. The real crowd-pleasing moments arri ve with the bad Chitti. Each little mannerism from this character is a delight for the fans and would be highly lov ed by the general audience. The special surprise will also be a treat.
If there is any disappointment, then it is the repetitiveness. We have seen it all before, only the dose here has been increased. Also, there has been a long gap of eight years so even if there is repeating the act, it shouldn’t be any hindrance in enjoyment. Direction by Shankar? Director Shankar reached a peak with Robo. In that film, he gave all that one expects from him in high and unexpected doses. It was a surprise that none saw coming. It the refore further raised the bar of entertainment and expectations from him. The follow-ups as a result, especially “I” did not reach those enormous expectations. Embarking on the journey of 2.0 was, therefore, a huge challenge and task for Shankar. When one watches the movie, we realise the director has kept all the aspects in mind. He has blended those different elements, a social cause, visuals, fan-pleasing moments, and grandeur altogether wit hout losing the balance. To bring all the various elements together, the sacrifice has been made on the story part. It is relatively simple and predictable. To those who are following Shankar movies from the start, it would even appear formulaic as well. It is as if the director is going through the checklist.
But, the talent of the director lies is making it work as a single piece. 2.0, right from the first frame gets going and never lets the audience’s attention slip. The screenplay is fast paced and free-flowing without any deviations, no t even for songs which is a speciality of Shankar. It helps the narrative stick to the point, and the spectacle aspect too happens within the scope of the subject. The repetitiveness is again an issue here as well. The comedy is fus ed into the narrative rather than giving it separate space. The flashback is also neatly executed without much lag. So one might ask where the issue is if at all there is one. The problem is in the emotional connect of the core concept. Everything seems to be done superficially and doesn’t feel organic. There is no heart-tugging moment like the previous social movies of Shankar evoked.
The bird bringing the baby to life is an example of such a moment, but that is not followed, and hence the cat harsis doesn’t connect. The final resolution, despite its grandness also lacks the heart. The emotional arc is a little let-down which brings the overall impact a notch down. Overall, 2.0 is a very entertaining one time watch for sure. But the lack of heart and a weak emotional appeal of the central theme is what stops the movie from soaring to new heights. A visual spectacle no doubts, but lacking on the emotional appeal. Amy Jacksonn and Others? Akshay Kumar plays the antagonist in the movie. He is superb and the kind of anti-hero that audience usually like. The flashback part shows the star playing a character superbly highlighting his acting skills. The length is less which might be disappointing to a few, but otherwise, there is nothing to complain. Amy Jackson is the heroine of the movie for namesake.
There is nothing to say about her performance wise. She is perfect for robotic expressions though. As there are no songs, there is nothing much to do for her too. Apart from them, there are no other memorable characters in the movie despite the presence of a few noticeable actors. Music and Other Departments? AR Rahman’s work is restricted to the background score. The best bits appear to be a rehash of the first part, and the rest is done in an international standard way with an orchestral sound. Unfortunately, the effect and experience may vary from th eatre to theatre. So, it might appear underwhelming. The other technical aspects of 2.0 are excellent from the en tire team. The cinematography is neat. The editing is perfect with no lag for the most part. The real highlight th ough is the visual effects; they are extraordinary for Indian cinema. 2.0 takes the VFX to a never seen before le vels and raises the bar for others who follow. It is this department that overshadows everything else. High lights? Visual Effects Grandeur Making Message Climax Surprise Drawbacks? Predictable Story Missing Emo tional De pth Becomes Formulaic Alternative Take The core concept of negative energy has been handled in a very differ ent manner in a small budgeted flick called Villa. Do check that out. It is an entirely different plot though.
This IS MY Personal Review So Please Go And Watch The Movie InTheaters Only
Written By- T.H.PRASAD -B4U-Ratting-4/5