'Kalki 2898 AD' review: Prabhas-Deepika’s film is equally riveting and frustrating

Your opinion of Kalki 2898 AD, helmed by Nag Ashwin, is a direct reflection of your love for sci-fi, action and dystopian content. Hollywood has of course, been doing it for decades, garnering an ultra-loyal fanbase for their many ‘universes’, be it Star Wars, DC or Marvel. The Indian film industry has only recently ventured into this arena and not surprisingly, the attempts are more from the southern part of the country than Bollywood; Tollywood being far more experimental and creative than their northern counterparts.

However, great attempts always do not translate to great cinema. Bahubali and RRR are undoubtedly the leaders of the pack but the others have been run-of-the-mill in some cases and downright awful in others (Adipurush, anyone?).

So where does Kalki 2898 AD stand in this spectrum?

As I write this, the Amitabh Bachchan-Prabhas-Deepika Padukone-Kamal Haasan starrer has already neared the Rs200 crore mark at the box office. Clearly, it’s proved to be a film that has gone beyond reviews. But some inconvenient truths must be told. So here goes!

First, the plot. Set 6,000 years after the Mahabharata war, in a dystopian future where the divide between the haves and have-nots is way too stark, the story tries to make a statement about war. All natural resources have dried up in Kasi, the oldest surviving city in the world and people here dream of going to The Complex – a futuristic zone that has fresh air, water and luxuries – governed by the evil Supreme Yaskin (Kamal Haasan). The world of Kalki 2898 AD is inhabited by a bounty hunter Bhairava (Prabhas), Sumathi (Deepika Padukone), a pregnant woman held captive in The Complex for an experiment that needs her womb, Mariam (Shobhana) the guiding light of Shambala, a hidden refuge for the rebels and finally, Ashwatthama (Amitabh Bachchan), a surviving character from the Mahabharata war who’s sworn to protect Sumathi’s unborn child.

Though it’s promoted as a sci-fi post-apocalyptic film, Kalki 2898 AD’s story is heavily inspired by the last avatar of the Hindu god Vishnu named Kalki. The director is basically trying to marry mythology with science which is not a bad idea considering the Hindu folklore and literature are rich in imagery and imagination. But while the ambition is great but the execution is plain tedious and disjointed.

The first half tests your patience. In the process of world-building and introducing the cast and motivations, you, as a viewer get lost in the maze that is Shambala, Complex and Kasi. Characters pop in and pop out for no reason, most jarringly Disha Patani‘s appearance as an unwanted romantic interest with absolutely no logic. Comedy sequences (featuring Prabhas who has no comic timing) are placed randomly that don’t even evoke a chuckle. The special effects are there but nothing out of the world or anything you haven’t seen before in a Marvel blockbuster. The music choices are bizarre too. In a fight sequence in the initial part, a Punjabi number is placed along with an operatic score before returning to heavy sound and noise.

Thankfully, the film finds its footing in the second half and the treatment is so different you wonder if it’s the same director and editor who made it. The final fight scenes between the good and the evil, Prabhas’ true identity and a climax that leaves the carrot dangling for the sequel, are brilliant. These scenes truly elevate the film to international standards and are riveting. Unfortunately, it’s a tiring journey to reach this point.

Then there are the comparisons. Kalki 2898 AD suffers from the obvious ‘inspirations’ from Hollywood and fans can actually play ‘spot the similarity’ while watching this one. From the Pandora-inspired Tree of Life to a bit of Darth Vader in Saswata Chatterjee’s character and the chase of Mad Max Fury plus Matrix’s Zion-like Shambala, there is too much of Hollywood in this film.

What works then is the star power. The line-up is like the who’s who of Indian cinema – Prabhas, Amitabh Bachchan, Kamal Haasan, Deepika, Shobana and cameos by Dulquer Salman, Vijaya Deverakonda, Annaben, SS Rajamouli and Ram Gopal Varma (hope I haven’t missed out anyone!). Among them, Big B towers over all, chewing up the scenery each time he shows up. The great Kamal Haasan shows how a legend can make an impact even in a short role. Deepika is mostly playing the damsel in distress, hopefully she will get her mojo in the second part. Finally, after a string of unbearable films, Prabhas gets presented well. He isn’t always effective and the slow-mo stylish shots get repetitive but with fans screaming at his very entry, does it really matter?

• Murder Mubarak review: A quirky murder mystery that tries too hard

• Entertainment