Set against the backdrop of the pandemic, Kennedy follows the story of an ex-cop who works as a vigilante by night at the behest of the police authorities, while being haunted by his past. The story here is a gripping neo-noir thriller with strong political undertones wherein the filmmaker just doesn’t hold back. The drama is packaged as a serial killer film told in a non-linear style of storytelling that adds layers and layers of political rants, something that you would once associate with Anurag Kashyap on twitter. And quite honestly, this was that one ingredient which was missing from Anurag’s previous ventures. He is most prolific when he is vocal, and that has directly translated into a gripping thriller despite its predictability. The screenplay standing at a little above 140 minutes is compelling wherein the filmmaker keeps certain cards to himself that adds to the mystery element of the film(although the revelation wasn’t entirely unpredictability). But the neo-noir elements kick in wonderfully well in the film! 

The drama begins with a voiceover of a character introducing himself while setting the context on whom he has been working for. Yet as a viewer, the thread is left hanging given that you aren’t still acquainted with any of the characters. Soon you are introduced to the protagonist who is shown to be murdering a man before quickly leaving the arena. He is shown to be a chauffeur, driving cabs around the city at night, while working as a vigilante for the Mumbai Police who are known to exploit the corruptions of the system. As the bodies begin to pile up, you also get to know that the protagonist has troubled visions of his past, all of which are told in a traditional non-linear, neo-noir format. The atmospherics are perfectly captured highlighting the underbelly of Mumbai wonderfully well during the pandemic.

The proceedings are engrossing and engaging while the events of the film seem to be like a jigsaw puzzle to be solved. The puzzle here isn’t very hard to decipher given the flashes that are showcased onscreen. But what really hit home in the drama was the political talks wherein the prolific filmmaker has taken massive potshots at the authorities, seamlessly integrating the same in the narrative that added layers to the narrative. The politics in an Anurag Kashyap film has always been intriguing, simply because of the manner in which he sees things which is very different from most filmmalers. Here I must say that the film may only be released after several cuts by the censor board, but a huge shoutout to the filmmaker for voicing his opinion in a rather unabashed manner. The drama has some amazing set-pieces involving the killings of certain individuals with a dry sense of humour which was once a trademark in films of Anurag Kashyap. And all of it makes for a rather compelling watch. 

The minor criticism that I had with the film was in its final act which was pretty straight forward even with respect to the flashback that you witness previously in the film. In other words, the cat was out of the bag even before the events unfold onscreen that did take a little shine off the drama. But it wouldn’t be wrong to say that this films marks one of the most personal works of Anurag Kashyap with respect to his family, and the equation that he shares with his daughter Aaliyah. The same is showcased as a heartfelt and heartbreaking sequence wherein the protagonist is deprived of seeing his daughter due to unforeseen circumstances, and this is something that saves the final act from crumbling at the end. The final sequence is honestly a masterstroke with an unending sound that penetrates the psyche of not only the protagonist but also the viewers, almost equivalent to breaking the fourth wall. Overall, the screenplay has a lot of bite and it hits home with a gripping piece of writing despite its predictability factor.