Imperial Dreams


The face of urban stress.

The face of urban stress.

(2014) Drama (Super Crispy) John Boyega, Rotimi Akinosho, Glenn Plummer, De’aundre Bonds, Keke Palmer, Fat Dog, Nora Zehetner, Todd Louiso, Sufe Bradshaw, Maximiliano Hernandez, Anika Noni Rose, Ethan Coach, Justin Coach, Jernard Burks, Wilfred Lopez, Nik Petcov, Kelita Smith, Zilah Mendoza, Kandiss Edmundson. Directed by Malik Vitthal

Florida Film Festival 2015

In the years since John Singleton’s groundbreaking Boys N the Hood illustrated the agonies and the ecstasies of South Central Los Angeles, little has changed. The choices are few for those restricted by poverty and apathy; selling drugs and using drugs. Getting out of the cycle of violence and poverty has become nearly impossible.

Bambi (Boyega) is boyishly handsome and just home after serving a 28 month stretch for armed robbery. His son Day (the Coach twins) has been staying with his Uncle Shrimp (Plummer) while Bambi’s girlfriend and baby mama Samaara (Palmer) is also in jail for a non-violent crime.

Bambi wants to be a good role model for his son and stay on the straight and narrow. Shrimp has other ideas. He wants Bambi to resume his place in Shrimp’s gang. Bambi would much rather get a job. However, the system is stacked against him; the state has filed for child support on behalf of Samaara, cranking a debt that Bambi can’t pay without a job. He can’t, however, get a job without a driver’s license and he can’t get a driver’s license with that child support debt on his record. It’s beyond Catch-22; it’s Catch-23.

As hard as it is for Bambi to stay straight, the thug life continues to intrude. His cousin Gideon (Bonds) is on the run from a rival gang who mean to murder him and Bambi’s proximity to Gideon is putting both him and Day in danger but Gideon is one of the few who are out to help Bambi make it on the level. Bambi’s mom (Zehetner) is a raging alcoholic and his half-brother Wayne (Akinosho) who has a partial scholarship to Howard’s business school but needs money to make up the difference so he can actually go to college is thinking of taking a short cut that may lead him down the same path that Bambi is trying to get off of. An act of violence puts everything in flux and puts Bambi even more at risk than he has been, leaving him and Day as vulnerable as can be, living out of a car that doesn’t run with a pair of skeptical detectives (Hernandez, Bradshaw) and a social worker (Rose) on Bambi’s back.

This is one of those movies that I really wanted to like a lot more than I ended up doing. Clearly Vitthal has a good eye and ear for inner city drama, and knows how to tell a good story. The trouble is, this is the kind of story that doesn’t really tell us anything new. Particularly in the light of recent events in Baltimore, Ferguson and other places around the country, we’re particularly sensitive to the plight of young black men in predominantly African-American communities that are riddled with poverty, crime and drugs. While this story is sadly not one far from the stories of many young African-American men, I get the sense that it has been told more than once and more than once in this very Film Festival.

That said, Boyega (who was tremendous in Attack the Block) has the chops and the looks to be the next Hollywood superstar. In my review of that movie, I compared him to Denzel Washington and certainly he has that kind of charisma and screen presence. Here, in a much more subdued and less obviously heroic role, he struggles with his conscience and his frustration, knowing that the easy way out is to revert back to the old life, but that it would lead him to exactly the same place – if not a cold, steel slab in the morgue.

The rest of the cast are fairly solid, with the Coach twins doing particularly well as Day; the father-son dynamic between the two is genuine and affecting. Very often actors this young have a difficult time bonding with their screen parents but in this case that’s not the case. The heart of this movie is Bambi’s devotion to Day and if we don’t believe that, we don’t believe the movie. That the movie is convincing on that end is admirable.

I take it that the slang being used here is genuine to the time and place; at times I had difficulty figuring out what some of the characters were saying and subtitles would have been genuinely appreciated. While some might write this off as a feature-length rap video (and with some justification), that would be a bit presumptive. This is a solid film by a filmmaker with potential that is dominated by an actor who may well be a great one in the very near future.

REASONS TO GO: Star-making performance by Boyega. Loved the father-son dynamic. Captures the Catch-22 of the modern inner city.
REASONS TO STAY: Doesn’t really break any new ground. At times needs subtitles to follow the inner city slang dialogue. A few too many cliches.
FAMILY VALUES: Violence and foul language throughout; some drug use and lots of adult themes.
TRIVIAL PURSUIT: Filmed at the actual Imperial Courts Housing Project in Watts.
CRITICAL MASS: As of 5/29/15: Rotten Tomatoes: 83% positive reviews. Metacritic: 64/100.
COMPARISON SHOPPING: Fruitvale Station
FINAL RATING: 6.5/10
NEXT: Homeless

New Releases for the Week of May 29, 2015


San AndreasSAN ANDREAS

(New Line) Dwayne Johnson, Carla Gugino, Alexandria Daddario, Ioan Gruffudd, Archie Panjabi, Paul Giamatti, Will Yun Lee, Kylie Minogue. Directed by Brad Peyton

All Californians know that the big one is inevitable and now it is upon them. As a 9.0 quake rocks Southern California, a daring rescue helicopter pilot and his estranged wife take a perilous journey north to find their daughter, off to college in San Francisco. However, as bad as things were, they may only be the beginning of worse things yet to come.

See the trailer, interviews, and a clip here.
For more on the movie this is the website.
Release Formats: Standard
Genre: Disaster
Now Playing: Wide Release (opens Thursday)
Rating: PG-13 (for intense disaster action and mayhem throughout, and brief strong language)

Aloha

(Columbia) Bradley Cooper, Emma Stone, Rachel McAdams, Bill Murray. A military contractor, once celebrated but now more of an industry joke because of a meltdown, returns to the scenes of his greatest triumphs – the U.S. Space program in Honolulu. He reconnects with an ex-girlfriend while falling unexpectedly for a fast-burning U.S. Air Force liaison. In between his romantic conundrum, he is working on an intricate satellite system for an enigmatic billionaire whose intentions aren’t entirely clear. Just another day at the office.

See the trailer, clips, interviews, featurettes, a promo and B-roll video here.
For more on the movie this is the website.
Release Formats: Standard
Genre: Dramedy
Now Playing: Wide Release (opens Thursday)
Rating: PG-13 (for some language including suggestive comments)

I’ll See You in My Dreams

(Bleecker Street) Blythe Danner, June Squibb, Malin Akerman, Sam Elliott.  A widow in her 70s finds her comfortable routine shaken up. This causes her to reassess her views on love, death and family and now in her golden years, she decides to start dating again and in doing so falls into relationships with two very different men, leaving her with quite the quandary.

See the trailer and clips here.
For more on the movie this is the website.
Release Formats: Standard
Genre: Drama
Now Playing: Regal Winter Park Village
Rating: PG-13 (for sexual material, drug use and brief strong language)

In the Name of My Daughter

(Cohen Media Group) Catherine Deneuve, Guillaume Canet, Adele Haenel, Judith Chemla. The brilliant French director André Téchiné brings us back to Nice in 1976 and one of the most notorious crimes in French history. When a casino heiress falls in love and marries a shady lawyer, her new husband manipulates her into voting against her mother and turning the casino over to the mob. Her subsequent disappearance and her husband’s hasty emigration to Panama lead her mother to believe that her daughter was murdered and her husband had a hand in it. She swears to see justice done, even though it takes decades.

See the trailer here.
For more on the movie this is the website.
Release Formats: Standard
Genre: True Life Drama
Now Playing: Regal Winter Park Village
Rating: PG-13 (for innuendo and language)

Tanu Weds Manu Returns

(Eros International) Kangana Ranaut, Madhavan, Jimmy Shergill, Eljaz Khan. The sequel to a hit Bollywood film, the marriage between Tanu and Manu collapses as many do. When lovely Manu meets a man who looks exactly like her ex-husband, what will she do when Tanu returns, seeking to patch things up?

See the trailer here.
For more on the movie this is the website.
Release Formats: Standard
Genre: Romantic Comedy
Now Playing: AMC West Oaks
Rating: NR

Body (2015)


Pretty little liar.

Pretty little liar.

(2015) Thriller (Oscilloscope Laboratories) Helen Rogers, Alexandra Turshen, Lauren Molina, Larry Fessenden, Adam Cornelius, Dan Brennan, Kimberly Flynn, Ian Robinson, Jack Brenner, Mike Keller. Directed by Dan Berk and Robert Olsen

Florida Film Festival 2015

We all make mistakes in life but some can’t be taken back. When you make a really awful mistake, sometimes one bad decision can lead to a cascade of them.

It is the holidays and Holly (Rogers), Cali (Turshen) and Mel (Molina) are bored. They’ve been at Mel’s house having a holiday feast and have been playing Scrabble. Like most young college-age women, they want to do something fun and smoking weed with Mel’s younger brother (Robinson) just isn’t it.

Cali then manages to convince her friends to move the party to her Uncle’s house which turns out to be a McMansion of the cavernous sort. The girls continue drinking, play vintage arcade games and horse around. However as Holly explores the house, it becomes clear that the family that lives there is Asian and Cali is most decidedly a blonde and blue-eyed Caucasian. When confronted, Cali admits that the house doesn’t really belong to her Uncle so much as to a family she used to babysit for.

The girls then decide to put an end to their festivities and leave but before they can get out, the groundskeeper (Fessenden) surprises them. A struggle ensues and Holly accidentally sends the hapless man tumbling down the staircase to the bottom where he lands with a sickening crack.

Now the girls have done something that can’t be undone. Cali becomes the alpha female and convinces her friends that while what happened was bad, it need not destroy their lives. They cook up elaborate plans to hide the body but before they do they discover that, in the immortal words of Monty Python, he’s “not quite dead yet.” Now faced with a moral dilemma, they find their moral compass is spinning like a top.

Berk and Olsen, who also co-wrote the movie, have the three girls representing Freud’s concepts of the id, the ego and the superego. Cali is a shoot first and ask questions later kinda gal, whose only instinct is for self-preservation. Holly is the voice of reason, often drowned out by Cali’s hysterics. Mel basically floats in the breeze, going in whichever direction seems to be convenient at the moment. The dynamics between the three change with Holly or Cali asserting dominance and Mel’s support going to whoever seems to be in charge at the moment. It leads to some pretty gruesome acts by the ladies, complete with primal screams in case the Freudian overtones weren’t enough.

The girls are all fine actresses, veterans of a variety of indie projects. They do pretty well here, as does Fessenden who is one of indie cinema’s most recognizable names and faces. Some of the supporting cast doesn’t do as well, with one actor whom I won’t embarrass doing a noticeably awful job.

As thrillers go, the suspense level isn’t super high, but I think that the changing dynamics of the three leads is more the point than creating an edge of your seats thrill ride. This is more of a cerebral thriller although there are visceral elements to it (as when Helen tries to manufacture elements that a sexual assault occurred) which may be squirm inducing for some.

It’s a fairly short film, so the action is compact. The filmmakers do a lot with a little and that’s heartening. As first features go, this isn’t half bad but what bothers me is that there really isn’t anything terribly new or original here, although this kind of movie is generally done with male leads for which I give the filmmakers points. However, the plot is definitely something you’ll have seen before.

REASONS TO GO: Gender roles are a bit different than is the norm for this type of film. Love the Freudian aspects.
REASONS TO STAY: Not all of the acting is stellar. The escalating violence is a bit disturbing.
FAMILY VALUES: Bloody violence, teen drinking and drug use and a surfeit of profanity.
TRIVIAL PURSUIT: Premiered at this year’s Slamdance.
CRITICAL MASS: As of 5/23/15: Rotten Tomatoes: no score yet. Metacritic: no score yet.
COMPARISON SHOPPING: Stuck
FINAL RATING: 5.5/10
NEXT: Imperial Dreams

Mad Max: Fury Road


You don't want to make Max mad.

You don’t want to make Max mad.

(2015) Action (Warner Brothers) Charlize Theron, Tom Hardy, Nicholas Hoult, Hugh Keays-Byrne, Josh Helman, Nathan Jones, Zoe Kravitz, Rosie Huntington-Whiteley, Riley Keough, Abbey Lee, Courtney Eaton, John Howard, Richard Carter, Iota, Angus Sampson, Jennifer Hagan, Megan Gale, Melissa Jaffer, Merita Jurisic, Gillian Jones, Joy Smithers, Antoinette Kellermann, Christina Koch. Directed by George Miller

The future famously isn’t what it used to be. However, in the minds of some visionaries, it’s exactly what it used to be – only more of it.

Max Rockatansky (Hardy) is a loner living in a post-Apocalyptic world where petroleum has become scarce, clean water even more scarce and chaos reigns. Governments have fallen in the nuclear fallout of the last desperate grasp of nations trying to assert control where none was possible. Max is haunted by visions of a daughter and wife he couldn’t save.

Captured by the War Boys of Immortan Joe (Keays-Byrne), his fate is to be used as a human blood bag for War Boy Nux (Hoult), who like most of the inhabitants of Joe’s Citadel, is poisoned by radioactivity. Joe asserts control in two ways; by controlling the only clean water in the area, and by asserting an almost messianic mythology over the War Boys, who believe fervently that if they die in battle for their Immortan that they will enter Valhalla and live once again in paradise. Sounds a little bit like a jihadist, no?

Imperator Furiosa (Theron), a one-armed exceptional warrior who has earned Joe’s trust, is sent on a supply run to get gas and armaments in a world of dwindling resources. She is driving an 18-wheel war wagon, a tricked out tractor trailer that is bristling with armaments and carries water for the masters of the Bullet Farm and Gastown.

However, Furiosa has plans of her own and it means deviating off course into a dangerous world beyond the Citadel and their allies. When Joe discovers that she is carrying stolen goods – his wives, women who haven’t fallen prey to radiation poisoning – he gathers the troops to get his precious cargo back. Through a violent set of circumstances, a suspicious Max ends up throwing in his lot with the women and the chase is truly underway.

Some critics have sniffed that the movie is essentially one two hour chase sequence and they aren’t wrong. However, there isn’t a moment in the movie where you’ll be bored unless of course you don’t like action movies to begin with (and some people don’t). This is innovative, tense stuff here and the testosterone will flow.

Hardy took his cues from original Mad Max Mel Gibson and broods pretty much non-stop, clearly ill-at-ease with people in general and suspicious of them in particular. He’s taciturn and doesn’t speak much unless necessary. However, deep down he has a good heart and can’t turn away from good people in trouble. He is well aware that there are precious few good people left since the crazies have already slaughtered most of them.

Theron, an Oscar-winning actress, does a bang-up job here. Although reportedly she had difficulties getting along with both Hardy and Miller, she delivers a performance as good as any she’s ever given. You can see the pain of her hard and brutal life in her eyes but she hasn’t quite lost hope yet. She’s fighting to make a future that isn’t as ugly as her past, and she’s inspired the various brides, who are clad in diaphanous white garments that leave little to the imagination.

The post-Armageddon landscape that George Miller has imagined is not over-exposed and oversaturated but vivid and colorful. Thank cinematographer John Seale for making a dusty, lifeless desert still appear to be anything but beautiful. It may be post-apocalyptic but that doesn’t mean it has to look ugly.

The vehicles and characters here are all wonderful and innovative. The vehicles all bristle with spikes or men on long poles dropping bombs, or gigantic drums or a dude with an electric guitar that spits flames. It may be post-apocalyptic but that doesn’t mean it doesn’t have to be fun. As for the characters, they are powder-white, or covered with pustules, or chrome lips or bullets instead of teeth. This isn’t the Mad Max milieu of Beyond Thunderdome or The Road Warrior; it clearly is evolved from them however.

The non-stop violence may turn some off but for my tastes, this is purely unadulterated summer entertainment. The stunt work here is amazing and that Miller has chosen to use practical effects as much as possible (save for an impressive CGI sandstorm) is admirable.

There has been a lot of discussion whether this movie is pro-feminist or anti-feminist. I will say this; if civilization ends, feminism will be trumped by Darwinism. I don’t think Miller is making a comment on feminism here at all; sometimes we need to turn off our sensitivities and just enjoy the ride.

REASONS TO GO: Incredible stunts. Imaginative vehicles and characters. Absolutely made for summer viewing.
REASONS TO STAY: Relentless violence..
FAMILY VALUES: Intense violence throughout, some disturbing images and a scene of mild sexuality.
TRIVIAL PURSUIT: Hardy had lunch with Mel Gibson to discuss taking over what many consider his signature role; Gibson was not only fine with it, he apparently was enthusiastic that the role was being taken over by an actor of Hardy’s stature.
CRITICAL MASS: As of 5/22/15: Rotten Tomatoes: 92% positive reviews. Metacritic: 89/100.
COMPARISON SHOPPING: Furious 7
FINAL RATING: 8/10
NEXT: Body

Billy Mize and the Bakersfield Sound


Cowboy elegance.

Cowboy elegance.

(2014) Music Documentary (Old City) Billy Mize, Merle Haggard, Willie Nelson, Dave Alvin, Ray Price, Buddy Neal, Maxine Crofford, Buddy Mize, Rose Vegas Waters, Gerald Haslam, Tommy Hays, Red Simpson, Cliff Crofford, Martha Mize, Karen Mize, Jimmy Phillips, Scott B. Bomar, Ray Urquhart, Bobby Durham, Monty Byrom, Dr. Diane Kendall, Dr. Jay Rosenbek, Dr. Ricardo Gonzalez, Leslie Gonzalez-Rothi. Directed by William J. Saunders

Florida Film Festival 2015

Even for country music fans, the name of Billy Mize isn’t necessarily a familiar one. One of the progenitors of the Bakersfield Sound, which came to rival that of Nashville on the country music scene in the 50s (and continues to be a huge influence on modern country music even today), he helped launch the careers of Merle Haggard and Buck Owens, both of whom made their television debuts on television shows in the Los Angeles-area that Mize hosted.

Mize had all the tools to be huge himself; good looks, a self-effacing downhome attitude, legitimate talent both in musicianship and songwriting and a silky smooth voice. However, he made a choice early on to forego touring and concentrate on television as a means of promotion in order to stay close to his family. It’s not easy to say whether Mize was aware of the cost of that decision, but certainly it did contribute to him not achieving the status he should have had.

His life wasn’t one of glamour and prestige although he lived comfortably enough; it was one that had a great deal of heartache. He performed until he was 59 years old, when a massive stroke robbed him of his voice. I can’t imagine a hell any more terrible for a singer than to be without a voice.

Yet he still manages today, performing on guitar at local clubs in the Bakersfield area where he continues to live. His ex-wife Martha remains a loyal friend, sitting next to him during interviews for this film in which he speaks haltingly but displays a great deal of humor.

Most of the film revolves around an impending tribute concert at Buck Owen’s theater in Bakersfield on the occasion of his 80th birthday. He had been continuing speech therapy in an effort to sing again and was hoping to sing for the first time onstage in more than 20 years at the concert as a kind of birthday present to himself, his fans and his colleagues.

It should be said that the music here is mostly Mize although we do get some performances of other artists performing Mize’s songs. This kind of country music may not be your cup of tea – it isn’t mine – but I found myself appreciating it more than I expected. Part of the attraction, I think, is knowing that this is some of the finest music of the Bakersfield variety that has ever been performed.

Buck Owens is, for many, the mainstay of the Bakersfield scene and he certainly brought the sound into the mainstream, but he isn’t as well-regarded within the community as either Mize or Merle Haggard. I found that interesting to say the least. It should also be said that there are plenty of performers outside of Bakersfield who appreciate and are influenced by Mize .

Mize is regarded with affection by many in the country music community, particularly those who are based on the West Coast. As an influence, the man looms large in Bakersfield and beyond. As they illustrate in the movie, the Bakersfield sound originated in honky-tonks more than in recording studios and the music was built for people to dance. While the movie relies a bit overly much on standard documentary format and too much on talking head interviews, it certainly will motivate even those (like myself) who aren’t particular fans of country music to get up and dance for a man whose story deserves celebration.

REASONS TO GO: Compelling story about a performer many have forgotten. Surprisingly relevant music.
REASONS TO STAY: Relies too much on talking heads. Those who hate country music will likely not find a reason to watch this.
FAMILY VALUES: Some adult themes.
TRIVIAL PURSUIT: Saunders is actually the grandson of Billy Mize.
CRITICAL MASS: As of 5/21/15: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: Muscle Shoals
FINAL RATING: 6/10
NEXT: Mad Max: Fury Road

New Releases for the Week of May 22, 2015


TomorrowlandTOMORROWLAND

(Disney) George Clooney, Hugh Laurie, Britt Robertson, Raffey Cassidy, Tim McGraw, Keegan-Michael Key, Pierre Gagnon, Judy Greer, Michael Giacchino. Directed by Brad Bird

There is a place where the future is being created. It’s a special place that is shaping how we will live years from now. Amazing technology is being developed. However, there are some who want those incredible discoveries for themselves and will stop at nothing to get them. Caught in the middle is a disillusioned former boy genius and a bright-eyed, optimistic teen with a passion for science who form a reluctant partnership to try and save a bright tomorrow from becoming something terrible.

See the trailer, clips, interviews, featurettes and B-roll video here.
For more on the movie this is the website .
Release Formats: Standard (opens Thursday)
Genre: Science Fiction
Now Playing: Wide Release
Rating: PG (for sequences of sci-fi action violence and peril, thematic elements and language)

Iris

(Magnolia) Iris Apfel, Carl Apfel. A beloved figure on the New York fashion scene is Iris Apfel. With her oversize glasses, her white hair and her impeccable fashion sense, she is a fixture at gallery openings, society parties and in the New York Times style section, she is known for her jewelry and accessories collection which is vast. Legendary documentary Albert Maysles profiles the New York icon in what would be his last film (he passed away this March).

See the trailer here.
For more on the movie this is the website.
Release Formats: Standard
Genre: Documentary
Now Playing: Regal Winter Park Village
Rating: PG-13 (for some strong language)

Poltergeist

(MGM/20th Century Fox) Sam Rockwell, Jared Harris, Rosemarie DeWitt, Jane Adams. Maybe the ultimate haunted house movie of all time is Tobe Hooper and Steven Spielberg’s Poltergeist from back in 1982. Now 33 years later it is being turned into a modern CGI-filled roller coaster ride. The basic story is that a family has moved into a home where strange phenomena are occurring. After their daughter disappears, they discover that their home was built on a graveyard whose residents are none too happy at the incursion.

See the trailer, clips, interviews and a featurette here.
For more on the movie this is the website.
Release Formats: Standard (opens Thursday)
Genre: Horror
Now Playing: Wide Release
Rating: PG-13 (for intense frightening sequences, brief suggestive material and some language)

3 1/2 Minutes, 10 Bullets


How many more lives must be lost before we learn to live with one another?

How many more lives must be lost before we learn to live with one another?

(2015) Documentary (Participant) Ron Davis, Leland Brunson, Tommie Stornes, Tevin Thompson, Lucia McBath, John Guy, Cory Strolla, Vic Micolucci, Angela B. Corey, Russell Healey, Alia Harris. Directed by Marc Silver

Florida Film Festival 2015

The United States has never really been able to have peace between different racial groups, particularly the white European segment and the African-American segment. In places like Ferguson, Missouri, Baltimore and New York City, there have been massive protests about the murders of young unarmed African-American men by white European-American men, mainly police officers.

In Jacksonville, Florida on November 23, 2012 – ironically, Black Friday, the day after Thanksgiving – four young African-American boys pulled into a gas station to pick up some sundries at the convenience store on the premises. They’d just come from the local mall where Jordan Davis’ girlfriend worked and had plans to enjoy the rest of the holiday weekend. Like young men of any color often do, they had the music on way too loud. The driver, Tommie Stornes, went inside to make his purchases.

Into the spot next to them pulled in Michael D. Dunn and his girlfriend Rhonda Rouer. They had just come from his son’s wedding and had enjoyed several cocktails; they were looking forward to continuing the party in their hotel room before driving home to Brevard County. While Rouer went inside to buy wine and chips, Dunn asked the boys to turn the music down.

Initially Tevin Thompson complied but this apparently upset Davis who turned the music back on, exclaiming that he didn’t want anyone telling him what to do. This led to a verbal confrontation between Davis and Dunn. According to Dunn, Davis threatened to kill him and when Dunn saw the boy pull a shotgun out and point it at him, he pulled his own gun from the glove compartment and fired into the vehicle. Stornes, who had returned to the vehicle by this time, pulled out of the parking space and Dunn left the vehicle, continuing to fire – ten shots in all. Rouer returned to the parking lot shortly after, and Dunn calmly left, returned to his hotel room and ordered pizza.

Three of the shots had hit Davis however, and when Stornes stopped the car a short distance away, they noticed Davis gasping for air. He’d been struck in the leg, the lungs and in the aorta. They made a frantic 911 call but it was too late. Davis would die from his injuries. Dunn never called the police, never took any responsibility for his actions. He was arrested later because an eyewitness got the license plate number from his car. Police searched the boys’ vehicle and no weapon of any kind was found.

This powerful documentary doesn’t really concentrate much on the actual shooting, although there is a poignant sequence in which the last moments of Davis’ life are described while home video footage of him as a baby is displayed on the screen. Mostly, this is about the aftermath – the devastation on his parents, Ron Davis and Lucia McBath (they had separated when Jordan was young and his mom had since remarried), his friends and his girlfriend.

They cover the trial, following the awful ordeal of reliving the death of their son, the demonizing of the four boys that the defense used to try and apply Florida’s controversial “Stand Your Ground” law. The movie is an indictment of that law as well as the mentality surrounding it. A mentality that has led to open season on young black men, that has led to massive racial tensions in a country that is supposed to be far too enlightened for them.

It’s hard to watch this movie and not feel angry. The pain and suffering of Jordan Davis’ parents and friends is palpable. The arrogance and self-delusion of Dunn is chilling. And even as his parents were dealing with the trial of their son’s murderer, off-camera other African-American boys were getting shot down. Given the circumstances that America has found itself in over the past year and a half, it’s hard not to put this film in that context.

However, that context has to be done by the viewer; the filmmakers make little note of them, although surely they had to be aware of what was happening elsewhere. While the movie overall is incredibly moving and emotionally wrenching, one thing was missing: Jordan Davis. We never really got a sense of who this 17-year-old young man was, or what his plans for the future were other than they probably didn’t include the NBA (his friends joke regularly about what a lousy basketball player he was). At the Q&A following the Florida Film Festival screening of the film (one of the best I’ve ever attended, by the way), his father described him as hoping to enlist in the U.S. Marine Corps after he graduated. He wanted to serve his country. Sadly, he never got the chance. In any case, I would have liked to have seen more of Jordan in his own story. He was more than just his murder and I think the movie would have been even more effective had we gotten to know him a little bit better.

This is the kind of tragedy that is far too common in our society. It is a senseless waste of human life. These four boys weren’t ghetto kids; they were from middle class families and had never been in trouble with the law. Even if they had been from a poor neighborhood, that still didn’t warrant what happened to them. Davis might have lost his temper and said some intemperate things, but that wasn’t worthy of a death sentence.

I don’t know that Dunn would have reacted differently had not the Stand Your Ground law been in effect. I think it’s impossible to know whether he would have or not. Chances are, the law wasn’t on his mind when he drew his weapon. What  was on his mind was anger and fear. Anger that these boys stood up to him; perhaps fear that they were guilty of being young and black. Which in his mind, did carry a death sentence.

REASONS TO GO: Absolutely riveting.  Couldn’t be more timely. Nonpartisan.
REASONS TO STAY: Could have explored the underlying issues more thoroughly. Would have liked to have known more about the victim.
FAMILY VALUES: Adult themes. Some disturbing content.
TRIVIAL PURSUIT: Made its debut at this year’s Sundance Film Festival. It was initially titled 3 1/2 Minutes but has since added the 10 Bullets to the title.
CRITICAL MASS: As of 5/20/15: Rotten Tomatoes: no score yet. Metacritic: no score yet.
COMPARISON SHOPPING: 15 to Life: Kenneth’s Story
FINAL RATING: 8.5/10
NEXT: Billy Mize and the Bakersfield Sound