Chennai: Director Shankar always spells grandeur in Tamil cinema. With 2.0, he goes several notches higher providing a sci-fi entertainer loaded with technical brilliance making it a visual delight in 3D format. And when it is the first such attempt in Tamil cinema, no wonder it has Rajinikanth in the lead. After all, the only actor in Indian cinema to have been part of black & white, colour, motion capture, and 3D before.It is a typical vigilante story of Shankar. In a nutshell, the movie revolves around an ornithologist, who ends his life on a cell phone tower pained by the death of birds due to mobile phone radiation. When he becomes the fifth force and tries to play havoc on those who use cell phones, enters Chitti, the robot. The confrontation between the two forms the crux. He lets loose a debate whether technology is boon or bane for mankind.
Having worked twice with Rajinikanth before (SivajiĀ and Enthiran), Shankar knows what fans would want from a Rajini film. He has loaded the film with typical Rajinisms, swag, and punchlines. As if that is not enough, the director throws a pleasant surprise to his fans towards the climax. A big hero needs a strong villain to stand out on screen. And Akshay Kumar fits in the role well. As ornithologist Pakshirajan from Thirukazhukundram, he has plenty to deliver on screen. His varied emotions – anger, agony, frustration, and revenge- compliment the story well.
A shrewd Shankar has managed to make a sequel to his EnthiranĀ but in a grand way. There is Dr Vaseegaran and Chitti. But they find themselves with a different role to perform in the sequel. Dr Vaseegaran (Rajinikanth) and his assistant Nila (Amy Jackson), a 
humanoid robot are engrossed in research. Soon, mobile phones start flying from everyone’s hands in the city and series of murders happen. Vaseegaran steps in to investigate the issue.
humanoid robot are engrossed in research. Soon, mobile phones start flying from everyone’s hands in the city and series of murders happen. Vaseegaran steps in to investigate the issue.He comes across a giant bird, made up of mobile phones, as the reason behind the act, Now to stop the giant bird from destroying the city, he brings back Chitti, the robot that he dismantled at the end of Enthiran. It is battle between two equals now. Who reigns supreme forms the climax.
Shankar’s signature style is written at many places. – the street-smart dialogues after mobile phones go missing or the ones penned for
Chitti when he is reloaded as 2.0.Ā It is a delight for Rajini’s fans. After KabaliĀ and KaalaĀ that had emotional plots, 2.0Ā beings the essential mass elements one would associate with the actor.
At 68, he defies all odds to look young and deliver an impeccable show.
2.0Ā is certainly not possible without a strong technical crew behind Shankar. VFX by Srinivas Mohan and Nirav Shah’s camera compliment each other. Mobile phones crawling on the road, trees glowing with phones and a giant bird are sure on par with international standards. A R Rahman’s background score goes with the theme. Jayamohan and Karky have penned dialogues that are no way behind late Sujatha’s work in Enthiran.
Lyca Production has bankrolled the movie for over Rs 500 crore. With such grand visual spectacle, the richness is visible in every frame.
If the credentials of Shankar were doubted after I, the ace filmmaker has proved his critics wrong coming up with a film that is engaging and educating. An out-of-the-box idea has been made as a story and executed on screen convincingly. And with Rajini at the helm of affairs, it is all well that ends well.