2.0

2.0.jpg

Shankar’s 2.0 is an amazing visual spectacle with incredible special effects and jaw-dropping action, but despite all the thousands of Rajinikanths, clouds of flying mobile phones and an unusually charismatic Akshay Kumar as the villain of the piece, it fails to fully impress due to a garbled and, at times, dull story. Not that the lack of a credible story really matters for a large-scale Superstar movie, but the transition between one incredible VFX scene to another really needed some sort of rationale to develop a relationship with the characters and bring in some suspense. And 2.0 just doesn’t have that connection. No matter how good Rajinikanth and Akshay Kumar are in their roles, or how truly magnificent the visual effects are, at the end of the day for me the film needs a little more soul.

The film opens with mobile phones suddenly gaining a life of their own and zooming off into the sky all over Tamil Nadu. These opening sequences are excellent as Shankar shows just how pervasive mobile phone use is, including the moment when we see an entire family all staring at their phones just as the father announces that of course he spends quality time with his family. Everyone is here – those obsessed with taking selfies, people using their phone for work, for family connections, even one man using a mobile phone as a plaything for his child, and it for a time it seems that Shankar might be making a statement about overuse of mobile phones. But it’s not that simple.

Naturally Chennai is thrown into total chaos by the “great mobile phone disappearance” but the problems are only just beginning. A massive cloud of mobile phones transforms into a bird’s talons and starts ripping cell towers out of the ground, prominent mobile carrier company owners are attacked and a gigantic bird, formed out of mobile phones starts attacking people in the streets. This is seriously inventive stuff, and Shankar has allowed his imagination free rein to create magnificent visuals that really are spectacular, while the fast-paced action just never stops.

Dr Vaseegaran (Rajinikanth) is aided this time round by an android called Nila (Amy Jackson) whose body proportions are reminiscent of a Barbie doll, but who does at least get the chance to show off her superhuman skills in the battle against the villain, Pakshi Rajan (Akshay Kumar). Pakshi Rajan is an eminent ornithologist who ends up suiciding after he fails in his attempts to stop the radiation from mobile phones killing off his beloved birds. Thanks to ‘negative energy’ and all those dead birds, he somehow transforms into an entity capable of animating mobile phones, and sets out to destroy the humans who have caused all the problems in the first place. There is a flashback sequence that paints Pakshi Rajan as an environmental hero with Akshay Kumar playing him as an old, broken man who wears baggy cardigans and weeps for a dead sparrow – so naturally he’s a more sympathetic character than the self-absorbed Dr Vaseegaran. And that’s part of the problem I have with the entire film. Dr Vaseegaran seems to simply want to bring Chitti back to life, and show off his new-fangled invention to save the day, while Pakshi Rajan has a legitimate issue and a real crusade that’s easy to support. So, when Chitti arrives on the scene, it actually appears that he’s fighting on the wrong side since Pakshi Rajan doesn’t come across as a bad guy until much later.

Thankfully when the 2.0 reboot Chitti takes over, his swagger and snappy dialogue helps lift the second half, ably helped by the excellent visuals and inventive ways that a cell phone can be used to kill. Pakshi Rajan develops a villain-worthy sneer and his casual disregard for the thousands of people who end up having to dodge bullets and large pieces of football stadium during the finale does start to make him seem a least a bit nastier. Team Chitti though has an equal disregard for bystanders and finally pulls a stunt with pigeons that’s even more vicious than all of Pakshi Rajan’s gory killings. That has the effect of making Pakshi Rajan actually seem more moral than Team Chitti despite his murderous tendencies. To try and compensate, the last scene makes some attempt to promote Pakshi Rajan’s cause while still chastising him for killing so many people, but it just doesn’t work, although the final action sequences are brilliantly done.

I’m not usually a fan of Akshay Kumar, but he is impressive here and he does an excellent job of humanising Pakshi Rajan and giving him an almost plausible reason to attack mobile phones. I also appreciated his bird-like mannerisms when he transforms into a giant birdman and his dedication to the role by using feathers for eyebrows. For the most part he simply screams at the camera in bird form, but during the flashback sequence he does display the demeanour and despair of a broken man very well.

Rajinikanth is on screen for most of the film in one or more of his different characters – Dr Vaseegaran, Chitti or 2.0. He is as charismatic as ever in every appearance, although Dr Vaseegaran is even more annoyingly self-absorbed here than he was in Endhiran. Despite playing a robot, as Chitti and his alter ego 2.0, Rajinikanth gets to display plenty of personality and each time he appears he brings life and energy to the screen. Thankfully the annoying Sana only appears as a whingey voice over the phone this time round, while the rest of the cast only appear briefly, either to be killed by Pakshi Rajan or as part of the government trying to cope with the crisis. Sudhanshu Pandey appears as Dhinendra Bohra, the son of Bohra from Endhiran, but this seems to be a real wasted opportunity and his character isn’t well utilised despite a promising start.

I’m not sure exactly what Shankar was trying to say here – if indeed he was trying to say anything at all. Could this be a film against mobile phones and the way they have come to take over our lives? Is there really an environmental message here about radiation and the dangers purportedly associated with cell towers? It’s all rather muddled and the emotional back-story for the villain doesn’t help matters either. However, as an all-out action adventure 2.0 works well enough. A.R. Rahman’s music is used sparingly throughout the film, although there is one montage song and a dance track over the end titles, which is fun. Thanks to Rekhs for the excellent subtitles (in yellow too, so very readable) and kudos to cinematographer Nirav Shah for making the regular shots just as good as the VFX. Yes, most of the money has been spent on the effects in this film, and little on the screenplay, but given the end result I’d say overall it’s money well spent. I didn’t see the 3-D version, but even in 2-D the effects are simply superb and for that alone the film really does need to be seen in the cinema. For the rest, Rajinikanth is excellent, Akshay Kumar totally nails being a murderous birdman, Amy Jackson does well as an animated robot, and best of all with this plot, no-one was using their cell-phone during the show. That’s definitely a win!

Advertisements

Tashan

tashan_poster

Tashan is not really a good film. I am at best indifferent to the cast. And yet I have a fondness for the movie that surprises me. Maybe it’s nostalgia for the total masala style, maybe the excellent work by the costume department, or the spectacular locations. But if you need to see a colourful movie that makes you throw popcorn at the screen and at your friends, this could be quite rewarding.

Vijay Krishna Acharya opens his film with Jimmy (Saif Ali Khan) in a car, underwater, and at gunpoint. How he got there takes up the first half. Most of the fun seeing this was the “surely they’re not…oh yes, they did!” moments and laughing at the shenanigans as the cast justify the next big set piece. There is a heavy use of flashbacks and characters speaking directly to the viewer so it heightens the unrealistic and fantastical mood, as do the songs. Jimmy and Pooja (Kareena Kapoor Khan) meet when Bhaiyyaji (Anil Kapoor) hires Jimmy as his English tutor. As Bhaiyyaji mangles every language he knows, Jimmy and Pooja fall in love. There is the matter of Pooja’s debt to Bhaiyajji, but there are also cases full of cash coming to the office every month. Bachchan Pande (Akshay Kumar), is an unhinged hitman hired by Bhaiyyaji. He is told to get Jimmy and Pooja and all manner of double crosses and shenanigans ensue. Who is what they seem, and who can you trust, especially when large sums of money are at stake? Things get complicated. And then everything blows up.

Saif Ali Khan used to be quite appealing when he was the second lead. As a leading man, he is inexplicable. It’s not that he doesn’t try to act, and it’s not just the porno moustache, it seems that his charisma has the depth of a teaspoon. And what is with the red belt he wears for the whole film? He is almost completely superfluous to the second half, yet he clearly refused to go home and just hung around whining until they promised him a big heroic Dhoom style action scene. Jimmy is not heroic though. He is self-serving most of the time, and a sleaze. He didn’t so much evolve as have a character transplant for a few minutes. I think one of the biggest issues is that the only person Saif seemed to have chemistry with was himself. He had a gleam in his eye when talking to himself or direct to camera, which was lacking in ensemble scenes.

Kareena has total commitment to the trout pout but Pooja is an interesting character who does more than pose. She does seem to have a polarising effect on the wardrobe team, or maybe it’s just their special way of showing love. Pooja is manipulative, and she has a clear goal in mind. Her romantic scenes with Jimmy have no spark to speak of, where her crackling chemistry with Bachchan is evident as is their knockabout friendship. Unlike Jimmy, Pooja has lots of layers to her character to reveal. Her contribution to the final fight scene is quite something, and I may have cheered out loud. Nice to see a lady causing the distress and staying ahead of the game.

I feel I ought to like Akshay Kumar more. But I have flashbacks to Tees Maar Khan (one of only two films I have walked out on) and I retrospectively dislike his films I may once have been more tolerant towards. And there is the established Youtube Poker rule that Akshay and a body of water will result in something hideously disturbing. But his Bachchan Pande is the saving grace of this film in so many ways. He is overwhelmingly self-confident, handy in a fight, and not overly complex intellectually or emotionally. And he has an excellent intro scene. Bachchan is also the one character with real principles, so I found myself caring more about what happened to him. Akshay gets lots of action scenes (by Peter Hein so you know, it’s pretty cool) as well as some discombobulated hick comedy, and it suits him down to the ground. And the shoe department agreed his grounding is important – he gets some excellent and flamboyant footwear.

God, I feel for the team that had to remove Anil Kapoor’s pelt. You know there would have been hedge trimmers first, then electric clippers, then waxing. I reckon we’re talking at least a full day of hard labour. My friend interviewed Anil a few years ago and told me ” One of my opening remarks was: “Anil, you have a lot of hair for your age. Is it hair weaving?” He pulled up his jacket like this and I quickly told him I got the drift…” I’m haunted by that anecdote. Anyway, his performance is fun and so over the top it all kind of makes sense. Unlike his outfits. Bhaiyyaji is determined to make it to the big league of dons and never averse to a bit of killing and mayhem along the way. His mangled Hinglish is hilarious and a bit sad as he worships Jimmy’s ability to speak like George Bush or Prince Charlie. Starting out as an urbane businessman he deteriorates into a snarling (shaved) beast, and Anil Kapoor goes all out.

The Vishal-Sekhar songs are what they need to be for a film, and the picturisations range from WTF to delicately lovely, making the most of their spectacular locations. Nothing can really explain “Dil Dance Maare” though. Kareena is more of a gyrate on the spot kind of dancer, and Saif does uncle stomping with a bit of flailing so I didn’t see much value added by Vaibhavi Merchant there, although the backing dancers earn their money.

Tashan is the kind of film that takes off and doesn’t stop until it stops. It’s high on visual impact and the pace never drags. See it if you need a rattling masala timepass, and don’t mind characters breaking laws of the land, laws of logic, and laws of physics. 3 ½ stars!