A man takes a weary walk up the ladder of a cell phone tower and hangs himself. The next day, cell phones start disappearing from every person’s addictive hands in Tamil Nadu. Now I wouldn’t mind if that happened for real all over the world! We will need NO CELL PHONE DAYS soon, considering how many heads are bent down hypnotically like zombies at bright screens all over the planet.
Meanwhile, genius scientist Dr Vaseegaran (Rajnikanth) has a new humanoid robot assistant Nila (Amy Jackson). As top telecom officials are brutally killed, the dismantled and banned Chitti may have to be brought back again. The mysterious, powerful villain (Akshay Kumar) then reveals himself…
Shankar and mega mass movies: Director Shankar is a veteran to using special effects in his movies. Who can forget the animated tear drops, floating arrows and heart symbols in Shankar’s debut feature Gentleman (1993)? This was when computer generated effects was barely used in any Indian movies, but for some rare exceptions. This was also the first blockbuster A.R.Rahman – Shankar collaboration.
For the Prabhu Deva – Nagma starrer Kadhalan (1994), Shankar used what is now outdated but cute effects, especially in the finale of the famous Mukkabla song. When a headless, wristless and ankeless body starts dancing, we couldn’t cheer more!
The Kamal Hassan starring vigilante flick Indian (1996) had some impressive effects that added weight to the action parts. Jeans (1998), Shankar’s first collaboration with Aishwarya Rai was known for the exotic locales it was shot in.
Mudhalvan (1999) that Shankar again remade in Hindi as Nayak (2001) used special effects to good effect. It is the simpler effects that work wonders. For example, the symbol of a person casting his vote imprinted on the present chief minister’s forehead is a nice touch.
Shankar surprised his fans with a coming-of-age teenage life story, Boys (2003). Decorated with splendid A.R. Rahman songs, this was a mass audience flick featuring the rise of a young band.
In 2005, Shankar collaborated with Vikram the first time on Anniyan (2005), another vigilante story with a unique multiple personality disorder angle. The Hindi-dubbed version Aparachit: The Stranger gained Shankar a new set of Hindi=speaking fans.
Shankar’s later movies with Rajnikanth and other stars further established his reputation as a box-office winning director.
Too Much Glitter
Heavy on visual effects and alarmingly careless in the story department (despite the amazing buildup), 2.0 (Hindi dubbed version), Shankar’s big-budget sequel to his irrelevant, fun entertainer Endhiran/Robot (2010) isn’t half as thrilling and enjoyable.
Yes, the film is technically impressive, the 3D execution is spot on. But the first half is wasted in needless extravagant, long-drawn, repetitive murderous vigilante-justice scenes (a Shankar norm), and by the time some good, grand parts briefly add some kick to the second half, it’s too little, too late.
2.0: Second half marginally better
Pakshi Rajan, the villain played by an underutilized, effective Akshay Kumar, gets a much-needed, grounded backstory. But his character is soon hijacked by audience-pleasing Rajnikanth histrionics.
The final giant vs giant faceoff at the stadium confrontation has its inspiring moments, but you know where it is going. A significant social message is blurred and made blunt in impact. How about the real dangers of cell phones and cell phone towers on human beings too?
2.0: Not much fun!
2.0 has a few highs, but the endless VFX dazzle and noise, don’t bring it home as a fun, light entertainer it could have been.
Director Shankar again showcases his mega-vision capabilities but stumbles in executing what could have been the greatest mass audience entertainer of his career.
Watch 2.0 in 3D for the technical excellence, vintage Rajnikanth (especially as Chitti-Gone-Bad), a superb Akshay Kumar, competent Amy Jackson, and a few excellent set pieces.
For a better story, wait for the next Shankar biggie.
