Having uncovered the truth of his legacy, Mahendra Baahubali avenges the murder of his father, vowing revenge against the tyrannical ruler of the Mahishmati Kingdom, his uncle Bhallaladeva.
Our favourite hero returns! Fearless warrior, devoted son and irresistible charmer, Baahu’s back to reclaim his throne and bring justice to his people. Gear up for a marathon double dose of the most sublime incarnation of film entertainment: Baahubaliiiii!
“Behold, the first great summer film: a three-hour action-adventure about a leader whose heroic deeds make Conan the Barbarian look like a wimp. The Indian action/period epic Baahubali 2: The Conclusion is everything I want but rarely get from superhero and big-budget fantasy movies. /…/ Thanks to blessedly short flashbacks and fittingly bombastic expository dialogue, viewers of Baahubali 2: The Conclusion don’t need to have seen the previous film to know what’s at stake. /…/ You haven’t seen action scenes with physics and logic-defying choreography like this before. Baahubali breaks massive chains with a mallet, brushes off mortal wounds with one hand, and launches himself over castle walls with determination and deceptive ease. He is merciless on the warpath, devastating a legion of enemy soldiers by lashing them to a tree trunk that he places in the path of a lightning bolt. Baahubali’s mom wields a severed head at one point. And did I mention that there’s singing? /…/ This is a refreshingly irony-free depiction of demigod-like men and the values and family members they fight to protect. And for once in what feels like a long while, this type of old-fashioned entertainment works without feeling like a throwback or an homage to a preexisting work of pop art. /…/ It’s grandiose and fun, and I pray there’s a lot more where it came from.”
– Simon Abrams, www.rogerebert.com
“Baahu’s quasi-cartoonish strength permits the film to take mightily imaginative leaps: one minute our guy’s casually surfing flaming oxen, the next he’s converting himself into a human cannonball with the assistance of a coconut tree. /…/ Entirely absent, again, is any cynicism: it’s amazing that a blockbuster with a long pre-title rollcall of ‘brand partners’ should then be permitted to tell a story that could have been filmed in 1917, or 917, if they’d had equipment for a Baahu to lug. This production’s triumph is the room it’s granted Rajamouli to head into the fields and dream up endlessly expressive ways to frame bodies in motion. Of the many sequences here primed to cut through jadedness, perhaps the most wondrous is that which finds Baahu guiding Deva mid-battle to shoot three arrows simultaneously – a set piece that speaks both to a love of action, and love in action. The budget’s big, the muscle considerable, but they’re nothing compared with Baahubali’s heart.”
– Mike McCahill, The Guardian