Director Shankar has had an illustrious career, mainly making vigilante-themed movies. It’s natural that he will pick the same genre that he has perfected for about 25 years when over Rs 500 crore is involved. India’s expensive movie is widely touted as a sci-fi thriller. But, beyond all those lofty concepts of physical science, futuristic computers, advanced robots and various other gizmos, lies a vigilante story at the heart of ‘2.0’.
Shankar has taken his fascination for vigilante justice stories to a whole new level in ‘2.0’. But there is a twist. He has flipped the conventional tropes of the hero and the villain. He has stunningly repackaged the well-worn motif of good versus evil with the help of gifted craftsmen in the business of filmmaking. The movie opens with the death of a man, who hangs himself from a mobile phone tower. Cut to next scene, mobile phones start flying off the shelves. And the game is on as Shankar is unburdened by the necessity to set up obligatory introduction scenes for essential characters of the film, thanks to its predecessor ‘Enthiran’ (2010).
The plot structure of ‘2.0’ is a classic Shankar set up. It begins with the sample killings of some people. And a dedicated second half to tell the backstory of the vigilante in an emotional flashback that justifies the death of those who were killed in the first half.