Tuesday, December 18, 2018

2.0 (2018) Full Movie 720p Download

"SHANKAR-MATH": 2.0+ 2.0= 5.0

Good work aside, he does not know when to stop the dreary additions!

Large-scale King of India - S. Shankar( I was going to say South India but North or South, there is no one like him) seeks to outdo himself with 2.0, the second instalment of his Endhiran(2010) - the sci-fi blockbuster that detonated India's glass ceiling in the arena of lavishly mounted CGI movies. The new flick's first one-third delivers darkly yet devastatingly well in fulfilling Shankar's promise of high imagination careening with dazzling special effects. The eco-friendly lone-wolf hero turned carnage-wreaking villain who launches this story into motion, is a triumph of imagination, his spectral enormous body formed from aggregated millions of a gadget which has become indispensible to us. Alas, as this movie propulsively lurches forward on its heavy sci-fi weight, the bills payable to U.S.A's Legacy Effects for the computer effects keep mounting, while the creativity-meter does not keep up-ticking in parallel. For its rather one-track storyline, pic drags on at least fifteen minutes too long in its 147 minute runtime . A kid could probably not conceptualize the villain's impressive genesis, but a child could well dream up the lumbering clash of techno giants that closes the pic.

But Shankar excels in unexpected areas. You have cinema purists who only endorse very sparing, subtle use of 3D. Shankar boots their concerns to where the sun don't shine and shoots his movie unashamedly in native 3D. Few opening credits are as in-your-face as this one, the 3D effect jacked up to the max as the letters and graphics leap out and gleamingly parade in front of your eyes, even as you enter through a tunnel, each zooming letter announcing the name of the starring legend - RAJNI( some people leave out their surname knowing that their first name alone is enough, this mega-gentleman Rajnikanth basks in the knowledge that even half of his first name is enough!)

Shankar's 2005 flick'Anniyan' had a different kind of dark vigilante, and it leavened the intense proceedings, among other devices, with composer Harris Jayaraj running colourful riot with an array of catchy songs in diverse genres. Here there are only one or two songs - by no means is that a negative, of course( it would not hurt India to increasingly tolerate and enjoy songless films) but in this case, it means there are virtually no artistic distractions to soften the rather militaristic proceedings-'n'-techno carnage. A R Rahman - the greatest of composers - is left rather confused at what exactly director Shankar had in mind for this film's music. Rahman's genius in song composition has only occasionally flowed into the background score for his films and in 2.0, the BGM hardly makes an impressive note. Cinematographer Nirav Shah deserves pass marks for his competent handling of a logistically difficult canvas which few of his compatriots have ever been confronted with, but sadly there is no real vision here.

Then what really keeps 2.0 going? In the titanic clash between "property" and Rajni, it is the former. Shankar's fairly involving storyline and throw-by-the -bushel use of special effects anchors the film throughout. Hitchcock's outstandingly inspired "Birds" may be a distant inspiration but the 2.0's mega-villain will remain amongst modern Indian cinema's memorable antagonists, at least in anatomy if not in psychology. At the mid-point when the thrills dip, Shankar thinks up a smart plan to make the return of the villain interesting. At the end, there is another cunning chess move, this time a kind of emotional blackmail, to limit the villain. On a larger thematic level, there is the writer-director's remarkably persistent drive implicit in his cinema against corruption. Indian(1996), Nayak(2001), Anniyan(2005) all had a positive nation-improving vibe, often dangerously vigilante but always well-meaning underneath, and this rears its conscientious super-beak again in 2.0 . Some cynics would scoff at this, but I find it a powerful and genuine auteuristic signature. Tamil Nadu's other big director from more than two decades - Mani Ratnam - has made many movies which are less hyper-commercial, yet with a somewhat similar but more persuasive and humane national spirit and together these disparate Tamil pezzonovantes represent some of the best and most constructive of India's cine-mainstream.

India today is home to a handful of top directors( Selvaraghavan, Anurag Kashyap and then perhaps Imtiaz Ali, Dibakar Banerjee) but helmers who rock the CGI arena are mostly still in their infancy. In this latter domain, Shankar treads audaciously and trail-blazingly, despite the uncertain return on investment and the country's shortage of experience with sci-fi extravaganzas. Within five days of the release, the movie has ratcheted up Rs.400 crore careening closer to its mammoth budget of Rs.543 crore(India's most expensive movie, now well on its way to handsomely making good on that input). What is also a salute-worthy triumph and exquisite irony is the way this technologically advanced film makes its beseeching case for lessening the rampant abuse of technology.

anymediapro rating - 2.0 :-