Raza Shaikh Just like his earlier film Paanch, this film too portrays characters without morals..Paanch was a disappointment in that sense and so is this movie. Both characters are bent on killing and covering up their crimes whether it is Raghav who kills 3 children through his girlfriends abortions..or whether it is Ramanna who kills whomever he targets just to get the attention of cop Raghav. Both Nawaz Siddiqui and Vicky Kaushal give decent performances but the Story lacks morals and moralistic characters..just a message to Mr.Kashyap please try to portray some positivity in your movies...you never have any good in your films maybe this is just your worldview of how you have seen real life..which is why you continue to churn out movies like this

Saibal Bandopadhyay It started off very energetically. There was that chilly feel to it. The protagonist who is actually a psycho killer, roaming around the streets unnoticed. Then he goes on to murder people whom he doesn't like or if someone comes in his way. In the latter stages, it got kinda confusing as it was hard to relate Ramanna(Nawazuddin) and his actions with the troubled cop Raghavan. Though there were some indications which suggested that there will be, at some point of the story, a clash between the two. The final 15 minutes cleared all the confusions and brought a not so happy but an ending to the film. It's quite natural to not have a happy ending when the protagonist is actually on the negative side. The film could have turned out boring if not for Nawaz's easy, natural acting. He stole the show with his attitude. To sum it up, one could say that its a movie where you feel bad for the victims but you do enjoy the actions of the villain( well, in this case the hero). Good movie. Worth a watch

Varun Chaudhary An opening rider in Raman Raghav 2.0 establishes the film's connect (as well as the disconnect) with the infamous serial killer of the 60s Mumbai: Raman Raghav, who had left a trail of 41 odd murders behind him. "This film is not about him," the disclaimer states. Indeed the film is about a contemporary copycat killer. But then it is not just about the new age Ramanna either.Whodunnit? Whydunnit? Howdunnit? Raman Raghav 2.0 is actually neither of the above. Yes there are many murders that keep you riveted but they are not an end in themselves. They are more a contrivance, as is the cat and mouse game between the killer Ramanna (Nawazuddin Siddiqui) and the cop Raghuvendra Singh Ubbi (Vicky Kaushal). The slayings and slaughters are mere pitstops in the journey of these two characters and their unfolding relationship with each other. The killings (right from the one at the start till those in the end) are devices through which Anurag Kashyap explores the crime vs law binary. He brings the two together, coalesces and fuses them. Is there much that separates the two? Aren't they reflections of each other? The film is a long chase in which each is actually running after his own shadow. It is as if Kashyap deliberately splits an immoral, unlawful mind into two and the film then becomes a voyage to a metaphoric completion. As if on cue Ramanna says of Raghav: "Apni mukti aurat mein dhoondh raha hai (He is looking for his own redemption in a woman)." Implying quite kinkily that it is he who is actually his salvation. The pivot of the film is the portrait of the serial killer. The creature of Mumbai mythology and folklore is brought alive with added shades of the dark and the menacing in this brand new avatar. Glowing cat eyes, a scar running down his forehead, at times wearing his own sister's earrings, humming "aadmi musafir hai" and moving around with an iron car-jack in hand, scouting furtively for victims, hiding in slush and rising up nonchalantly from it plastered with muck. Nawaz is brilliantly frantic and frenzied as the cold hearted, demented, voyeuristic pervert. Like the best of killers his depravity is built on his individual philosophy: that he has a wireless access to God, that he is the messenger of Yamraj who is telling him to pick people up and kill them. For him killing in the name of nation or religion is just not as evolved as killing purely for the heck of killing which is what he is himself practising. Nawaz packs in such a brute force in his lean frame and mean presence that everyone else gets automatically shoved to the periphery. Sitting on his knees, looking up at the cop in the balcony—with one unwavering look he sends a chill down the spine. But, despite Nawaz's overpowering presence Vicky stands in good stead as a reckless, trigger happy, drug-addled cop keeling dangerously close to Ramanna's side of darkness.They share much in common. Both have emerged from squalid surroundings; belong to worlds that are rotten and foul. Be it the filthy slums or a decaying middle class family. So a passing reference to Vasantbalan's Angadi Theru seems quite appropriate in the scheme of the film.Both Ramanna and Raghav are also creatures bred and brought up in patriarchy, are victims of it (Raghav's uneasy but submissive equation with his dad for instance) yet perpetuating its deep misogyny. No wonder women, however strong-willed, get the worst end of the stick, be it Ramanna's victims or Raghav's girls.Some sequences stand out. Ramanna holding his sister's family hostage brings out his sick mind in the queasiest way possible. A massacre followed by a feast of some chicken curry and to top it all that dynamite of a song-- Behooda. Most satisfying! Or that unnervingly funny killing in slums even as an old lady is too busy collecting the potatoes fallen from her bag. The killings and bloodshed might be kept off screen but the gore and gruesomeness reach out. The black humour adds to the horror. How in the long scene at the very start Ramanna confesses to his crimes only to be let off by the police. Owning up becomes his ticket to freedom, and to more murders than the nine already committed.More than the story itself, it is the quirky telling that is the key. Structured around eight chapters, vividly shot in the slums, pulsating with raucous music, Raman Raghav 2.0 is a taut thriller, full of energy and brimming over with tension. It doesn't flag even once and holds the viewer tightly in its grip. Such is the dizzying momentum and pace that you even stop caring about some missing pieces of the jigsaw that would have been niggling you. Clear-cut, uncomplicated Raman Raghav 2.0 takes you on an entertainment high.

imtiaz As it is a Kashyap film one must expect a certain degree of freshness in the film, and he certainly does not disappoint you. The makers have clearly stated that the film is NOT based on the psycho-killer Raman Raghav who was very famous (or should I say very infamous) in the 60s in Bombay(Mumbai). Instead it is a story of someone who kinda draws inspiration from those incidents. Watching Siddique as Raman is breathtaking. He truly horrifies you. His acting will surely strike a note among viewers. And Kaushal as Raghav (who happens to be a cop and a drug addict!) tries to serve a "never tasted dish" on your plate. For a new comer he clearly outshines many of his contemporaries on many fronts.Kashyap's main characters (Raman and Raghav), equally qualifies to be called as psychopaths and are responsible for numerous murders. But one do this all behind his uniform and other openly. But the thing which will surprise a lot of persons is the intimacy they both share. It's not much though, but still one can find the "love" for Raghav in the eyes of Raman. For instance, Raman state in the film once that "Raman completes Raghav and Raghav completes Raman". Though this certain twist of love does not take way the essence of crime drama from the film. There is a lot of murders happening here and there. Innocents (are they?) are getting killed on the streets. And all this are proof of watching a typical Anurag Kashyap movie.In summary if you like Anurag Kashyap movies then you will definitely like it. And if you are not a Kashyap fan then also you should watch it, you will surely praise the performances of the lead actors. The performances are what makes the film an excellent one.