We should start with a disclaimer. While we can concur that Rajinikanth’s 2.0 is outwardly great and more aggressive than its prequel, Enthiran, the previous was unquestionable all the more engaging.
In the spin-off, we are acquainted with an existence where cellphones are flying into a dark opening. The telecom administrators can’t follow the area of the cell phones and it is up to the researcher, Dr. Vaseegaran (Rajinikanth) to discover what Pakshi Rajan (Akshay Kumar) is doing.
At the point when no one can make sense of Pakshi Rajan, resuscitating Vaseegaran’s robot, Chitti, is the need of great importance. And afterward, there is Vaseegaran’s better half, Sana (played by Aishwarya Rai Bachchan in Enthiran), who is over-requesting, unreliable about him investing more energy with his new female robot, Nila (played by Amy Jackson). She gives us the couple of, truly necessary comic punches in this generally dry account and furthermore acts the hero of the two men in the film. Then again, Sana’s quality is just felt in the telephone calls the couple trades, where she is generally grumbling.
A savvy, beguiling household robot, Nila is instrumental in assembling a progressed Chitti, initiated 2.0 in the film. She figures out how to remain individually as opposed to being overshadowed by the two forcing Rajinikanth in the film.
In the second half, we are acquainted with a passionate flashback with the ornithologist, Pakshi Rajan, battling against the utilization of cell phones. He attempts tirelessly to make the purchasers, priests and telecom organizations comprehend the unsafe impacts of high-recurrence radiations from versatile towers on the feathered creatures.
His vigilantism, albeit unrealistic, will make you need to scrutinize your reliance on the cell phones. Will we truly constrain our day by day use of telephones and internet-based life? In the seasons of 5G, would we not whine on the off chance that we don’t get a solid portable flag?
Pakshi Rajan’s apprehension about abuse of cell phones executing the flying creatures isn’t extremely persuading in the film. It’s anything but a reason you battle for or an idea you leave the performance centers with. Likewise, the science that executive Shankar makes the focal topic of the scoundrel – negative atmosphere and vitality showing into an abhorrent winged creature – left us stunned.
Shankar has intensely put himself in the movie, dealing with the story, screenplay, and bearing of 2.0 and presents a few striking visuals. The scenes in the main portion of the cellphones shaping a major wave and immersing culprits in it, entering the human body and detonating them are striking, yet lose curiosity when rehashed on three characters. With a feeble storyline to hold it together, the film winds up being disappointing.
Given the huge spending he had available to him, he appeared to have reveled in the VFX to a point where you simply need it to wrap up. A duel between the giant-sized Chitti and Pakshi Rajan in the games field would most likely be one emerge scene in 2.0 alongside Chitti opening discharge through spinning firearms (acquired from Enthiran).
The movie producers totally overlook what’s really important of passing on the message about cell phone abuse with the cruel tone they utilize. Insane fans wouldn’t fret the film owing to their praise for Rajinikanth and the freshness of seeing Akshay Kumar in a negative job. Be that as it may, are those reasons enough?
The film closes with an unnerving probability of another continuation, titled 3.0. For me, I was content with the engaging Chitti in Enthiran and the creators could have recently halted there.