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Judgementall Hai Kya Movie Review

Critics Rating: 3.5 / 5, Release Date: July 26, 2019, Director: Prakash Kovelamudi

Kangana Ranaut and Rajkummar Rao’s psychological thriller Judgementall Hai Kya directed by Prakash Kovelamudi revolves around a traumatized girl Bobby (Kangana) who gets into the character everytime she dubs for a film.

Her house has a wall with her photos in different looks- from cop to Kangana Ranaut’s Tanu Weds Manu avatar. Her imagination knows no bound. She is lonely, curious and always up to something.

Things take a turn when Rajkummar Rao as Keshav comes to stay as tenants with his wife. A murder and two suspects accusing each other. Is Bobby suspicion a result of the character she is dubbing for at that moment? Is Keshav being victimized just because of the voices inside Bobby’s mind. Throughout the film, the two continuously try to outwit each other with your sympathy constantly shifting from one character to another.

Kanika Dhillon

The story, screenplay and dialogues of Judgementall Hai Kya have been penned by Kanika Dhillon, who too appears in the film. The film is intriguing in the first half as you will still be absorbing incidents going on the screen and trying to understand Bobby and Keshav.

The story swiftly moves in the pre-interval leaving little scope for you to put your eyes off the screen. This is also because the transitions between two scenes are written in such a way that it will evoke multiple emotions at the same.

For an instance, there is a scene transition between zooming car and something being fried on a pan. Such an amusing editing with playful use of sounds. The whodunit angle doesn’t let your attention die despite the film being predictable. This is because Judgementall Hai Kya is not basically about who is the murderer but what led to the murder and thought-process of the criminal.

The entire film is laced with many such moments until the second half where the story starts moving at a relaxed pace. You experience a sudden shift in the way story is being told. In the second-half, the film moves to London with a mythological undertone.

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