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Directed by – S. Shankar
Produced by – A. Subaskaran, Raju Mahalingam
Starring – Rajinikanth, Akshay Kumar, Amy Jackson, Sudhanshu Pandey, Adil Hussain, Kalabhavan Shajohn, Riyaz Khan, Aishwarya Rai Bachchan
Shankar’s 2.0 starts on an intriguing note with it trendy opening credits. Ideal from the principal outline, the producer makes it unmistakable this Rajinikanth-Akshay Kumar starrer will be an exciting ride the extent that the VFX and 3D impacts. 2.0 starts with an elderly person strolling dejectedly towards a mobile phone tower and after that amazingly commiting suicide over it. The film moves to the following gave where a gathering of automated understudies visit Dr. Vaseegaran’s (Rajinikanth) to find out about his most recent humanoid Nila (Amy Jackson).
While returning, one of the understudies discover his mobile phone getting grabbed. Before long, all individuals in the city locate their cell phones flying out of their hand and vanish like a phantom. Before long, even the portable towers begin tumbling down because of obscure events. Before the general population in the city can comprehend what’s going on around, a mammoth flying creature, with plumes made up of cell phones releases gigantic decimation, threatening every last one. Accordingly, Vaseegaran bring back Chitti, the disassembled propelled robot, to counter the ‘fifth power’ which ends up being Pakshi Raja (Akshay Kumar).
Talking about the story, Shankar endeavors to advance a social message masked as a mass performer. On the other side, the film battles to keep up parity with regards to feelings. Notwithstanding modest bits of cleverness all over, 2.0 has a dreary tone all through the film. In any case, it’s the VFX and 3D impacts which take the show and should be praised. Execution shrewd, 2.0 is Rajinikanth’s demonstrate the distance. He is there in pretty much every edge and holds together the film.
Yet, what stole my heart was the little Kutti Chitti otherwise known as 3.0 which makes a crushing passage. While Akshay Kumar may have a lesser screen space than the Thalaivva, the on-screen character conveys a sincere execution and we wouldn’t fret watching him take up jobs with shades of dim later on! Amy Jackson has constrained exchanges, yet she is lovely to watch on screen.
2.0 exceeds expectations with regards to the specialized office. Shankar together with his VFX group, sound pro Resul Pookutty, cinematographer Nirav Shah and manager Antony set up eminent visuals that is once in a while found in Indian film. In contrast to Robot, this film has not a lot to investigate in the music division. A. R Rahman’s music is tolerable.
Basically, 2.0 takes off high with its noteworthy VFX and 3D impacts. Somewhat more spotlight on the composition and the enthusiastic angle would have made it the ‘Lord Of The Sky’.