Technical Aspects: 3.5
The stylized thriller makes the most of its eight-chapter structure as it hurtles episodically through the nihilism and all-encompassing darkness of Mumbai’s criminal underbelly.
At two and half hours and with no respite from the relentless gloom, it is a tad too long.It is dark, very dark and deprived of even a shred of dignity. It makes you feel nauseated at the shocking spread of depravity served to you. But then again, it is unique storytelling.
It’s consistently engaging, but doesn’t get under your skin like some of Kashyap’s other films, particularly Black Friday,Gangs of Wasseypur, and the criminally overlooked Ugly.
It is the film’s background music (Ram Sampath), that, more than makes up for the film’s music. The film’s background music acts as a catalyst between the film’s script and the characters. The film’s cinematography (Jay Oza) is spot on and apt. Here, a special mention goes to the usage of guerrilla filmmaking techniques, which helps the film look more realistic.
It’s hard to imagine what Raman Raghav 2.0 could have been had it been made by a different director. It’s a film that utterly suits the style of Anurag Kashyap; yet he fails to a completely captivating experience. This ends up making Nawazuddin Siddiqui the saving grace in the end, and he handles this responsibility like a boss. Raman Raghav 2.0 is to be watched if you wish to dive into the convoluted mind of a serial killer. If you’re not interested in that, you can give this one a miss.