Robot 2.0 is a direct, essential movie, with a simple to recognize and simple to-douse issue, however, drifts pleasantly on Rajini’s appeal. The hotshot is in vintage screen-commanding structure, both as the effective Vasigaran and also Chitti, who later turns into a red-streaked rendition of himself, an unsavory Oompa Loompa. Taking into account that Kumar too was a delicate, white-hairy scheme scholar who in the end transforms into a cackling vulture-type, this might be the film’s method for instructing us to be careful with updates.
Rajini is capably upheld by NILA, who has raised herself on an eating routine of TV, film, sustenance and talk with the end goal to wind up more human. Subsequently, she’s an excitedly uninvolved forceful robot who makes plays on words as she sits tight for robot love. ‘Hot Siri’ is a peculiar part, and Jackson keeps running with it well.
Shankar continually dumbs it down: when the secretive scoundrel is first hit by a “balance beam,” an on-screen meter supportively advises us how much longer he should be assaulted. This is a ‘family film’ in the most evident way. However the chief likewise routinely gives us astute asides, both visual and verbal: there’s a super visual of a window-washer startled by the mammoth flying creature beast, and the line to purchase cellphones is depicted as a journey. There are additionally, normally, numerous jokes to underline how stricken we are by our telephones.
This equalization forsakes the film in its last stretch, where the peak continues endlessly and, at one point you will never have the capacity to un-see, Rajini enters Akshay Kumar. Shankar’s interminable session of Lego implies such a large number of things continue merging together into greater, more unwieldy things. Chitti even turns attractive and is expeditiously canvassed in vehicles and utensils like a Subodh Gupta establishment. Likewise, the saint unnerves the miscreant by holding pigeons emancipate, undermining to snap their necks. Go figure.
As a matter of fact, don’t. Regardless of the dreary peak, 2.0 is an impact. It could have been a more astute film, yet it is a generally fun Rajinikanth ride, with strong 3D and incredible Atmos sound — so great is the acing that at one moment that Kumar sets numerous a telephone ringing, I murmured at the individual alongside me in the theater. Shankar adheres splendidly to the plot and never backs off, with no time for acting or tune successions, which made up the cheesiest parts of Enthiran. Kumar has some good times growling and cawing, Jackson is more than qualified to keep kicking butt as the establishment proceeds, yet a Rajini film must be around one man.