WATCH THE TRAILER HERE
First, the Recap:
What is the core of the apparatus, its soul, its intent? While this notion might sound entirely enigmatic, it is more a statement about the contemporary age in which we live where technology has so immersed us in its wonder and constant utilization that we’ve lost sight of what it is to actually just live and communicate. What happens when it all comes apart? For scientist extraordinaire Dr. Vaseegaran (Rajinikanth), it has been eight years since his ultimately failed attempt to bring robot tech into reality went amok, leaving lives lost and a scar within him now somewhat healed by his new creation, the robot Nila (Amy Jackson) who has a better grasp of human emotion and control.
However, when cell phones take on a life of their own all across the city, disappearing suddenly and without a trace, Dr. Vaseegaran finds himself called upon by Minister Vijay Kumar (Adil Hussein) to come up with a solution, as the populace begins panicking and growing restless without their means of “connection”, even as a greedy Telecom Minister (Kalabhavan Shajohn) and an unscrupulous fellow scientist Dhinendra Bohra (Sudhanshu Pandey) have other plans. Yet, the more Dr. Vaseegaran digs, his initial theories about what is occurring get shattered upon learning the issue is not to be found through an otherworldly source, but rather via the very angry and revenge-minded human machinations of the late professor Pakshi Rajan (Akshay Kumar). Soon, only Vaseegaran’s former achievement-gone-wrong, Chitti (also Rajinikanth), can bring needed resolution.
Next, my Mind:
Suffice it to say, you will at minimum never again trust your cell phone or look at it the same way, much less think about the abundance of tech taking over our existence without flinching or ponder what potentially nasty impacts the loss of bird life on this planet would have while you’re attempting to decide on exactly what level of entertainment value you desire to assign to this de facto sequel to 2010’s “Enthiran” from returning writer/director Shankar. For this critic, the 148-minute foray into the realms of science fiction, Indian 3D cinema style, was a first, and it became an exercise in such a myriad of notions towards it I am honestly not sure precisely what single opinion to settle on.
The grand narrative presented, as highlighted in the synopsis above, took a bit too long to completely reveal itself for me, even though the specific build-up to the inevitable confrontations between Chitti and Rajan was necessary, but could have perhaps come about more quickly. Once we arrive at those moments of sci-fi action/chaos, the film is certainly a blast visually, with an overall tone in execution that many might immediately conclude would be worthy of MST3K, a campiness that becomes a “bring a smile to your face” heap of amusement and diversion, hard to take seriously on several levels, yet fun enough to enjoy without it being too overtly distracting in its borderline absurdity. Yet, isn’t this the inherent pleasure of films found within said genre? Sure, I like needed amounts of purely intelligent sci-fi (ie: “Arrival”, “Annihilation”, et al), but otherwise, let’s blow things up, get a little silly, be over-the-top, and simply enjoy what’s transpiring before our astonished eyes. There were, I guess I felt, some unexpectedly graphic moments of violence I wasn’t anticipating, but it sure gets the point across when needed as an illustration of the sheer malevolence of the force the protagonists find themselves up against.
The visual delivery here, especially for the “technological Rodan” (hey, see the trailer and the film) as I define it, was quite well done and engaging to watch. I cannot say the 3D was something needed or that necessarily added to the viewing experience, but being it was the first time seeing an Indian film in the format, it served its purpose fine/as intended. Then, as I have witnessed in much of Indian cinema, there are the very strong, in-your-face social statements brought about, telling of the dangers of technology and our reliance on it, while also addressing its impact on the natural world, birds here specifically, and how this also causes us to live in a society/world lessened by things that are being invented to make like “simpler”, though at the same time, more disconnected. While some of this almost came through a tad “preachier” than I would normally prefer in this genre of film, the scary thing about it all is that there’s total, absolute truth at its foundations, and needed as a reminder to us of just how damaging what we’ve come to, dare I say, worship as “progress” isn’t all gold. Some elements of this are intentionally extreme for the sake of the story, but there’s purpose to it all. Perhaps it will actually leave people contemplating things a little more at least.
This was my first official experience taking in Tamil-language/South India film icon Rajinikanth, and I must advise, I see why the masses love him, as he does command the screen here in his returning dual roles as Dr. Vaseegaran/Chitti. Vaseegaran has learned his lessons from the last experiment gone rogue, and so has worked to repair things, both within himself and for others, in the aftermath, having how created a much more humane robot in Nila. But, the ghosts of his grander past are rediscovered when that former creation has to be reluctantly resurrected for the sake of a city’s survival. Yet, he throws himself into the fray, hoping to provide an ever bigger healing of the past in order to protect the present. As Vaseegaran, Rajinikanth presents a calm but firm demeanor that befits a character seeking redemption, forgiveness, and a new lease on success that he desires to go much better than previously. As Chitti, the actor is all machismo and beautifully exaggerated bravado that just makes you cheer for him to win, while buoying the film with some goofy humor that you might roll your eyes at, yet have to admit finding pure joy in.
Bollywood staple Kumar gets his own chance to showcase a well-earned reputation of being able to embody humor, drama, and action to any character he embraces, and this is no exception here in playing Professor Pakshi Rajan, a humble man who from a miracle at his birth has always had a huge affinity for birds and their well-being. Yet, as cell technology has poisoned the air with forms of radiation that negatively impacts his chosen “pets”, the crusade to see change occur to curb the damage goes for naught, leading to a fatal choice and the start of a new plane of existence for Rajan, turning him into a undeniably menacing villain, bent on expunging what he now sees as a plague upon the earth. Kumar’s soft spoken, believable performance as the human Rajan gives way to the delightfully sinister, snarling, mad-at-the-world nightmare he then becomes, which I feel you can tell Kumar relishes playing the whole time. It’s actually a real testament to the actor’s diverse abilities, and doesn’t have to be in itself close to his finest performance to be one hundred percent gratifying as a viewer.
Jackson makes for quite the fine-looking robot in her role as Nila, Dr. Vaseegaran’s newest robot invention who has her chance to selflessly shine while quite innocently finding a sense of love for Chitti, which is both adorable and witty. Primary supporting roles are found through Hussein as the city’s Minister, a man desperate to see the populace saved from its own shortsightedness, Shajohn as the city’s Telecom Minister whose greedy nature defines every iota of his being, Pandey as Dr. Bohra, a man who has his own thoughts about Rajan’s power and what it could mean if controlled, and Mayilsamy as the Telecom Minister’s obedient/somewhat sniveling assistant. Additional turns are found from Ananth Narayan Mahadevan, Ishari Ganesh, Kaizaad Kotwal, Bharath Reddy, Maya S. Krishnan, Joy Badlani, and Avijit Dutt among many others.
In total, “2.0” is precisely what it should be–a completely escapist sci-fi action/thriller that is, admittedly, saved mainly by the authoritatively dominant presence of Rajinikanth and Akshay Kumar paired with some impressive visuals that manage to keep you enthralled throughout while instilling within you the fear of even stealing a quick glance at your phone while the film is running. Hey! I see you! Don’t do it!
As always, this is all for your consideration and comment. Until next time, thank you for reading!