(2021) Crime Drama (1091) Julian Moore-Cook, Ellie Bindman, Adam J. Bernard, Jennifer Lee Moon, Jessica Murrain, Roger Ajogbe, Andy Chaplin, Joe Gallina, Nicholas Grey, Daniel Jordan, Jennifer Lee Moon, Emily Swain, Richard Sandling, Jess Radomska, Stella Taylor, Oliver Silver, Al Gregg, David Ngara-O’Dwyer, Ryan Molloy, Martin Smith, Thomasin Lockwood. Directed by Marcus Flemmings
When things are going well, everybody tends to be generous and kindly. It is when things are exploding in our face that our true characters tend to emerge. Nothing explodes in the face quite like a bank robbery gone sideways.
And that is exactly what’s happened to Wyatt (Moore-Cook), a man who requires an immediate infusion of cash that is talked into doing something he’s never done before – rob a bank. His more experienced partner, Nath (Bernard), has been shot and taken to the hospital. Wyatt is left with a teenage girl Maddison (Bindman) as a hostage and a hostage negotiator (Gray) who might be the least suited for the job in the history of law enforcement.
In the two hours or so of the film’s run time, we get to meet these characters and others in their orbit. We find out that other members of the crew, like the hot-tempered Ant (Sandling), dropped out of the heist before it even began. We meet femme fatale Saida (Moon). And through it all, we see how Wyatt got into a situation that is so far over his head that it might as well be Mt. Everest.
Flemmings, whose last film Six Rounds (which Bernard starred in) showed immense promise, improves on that film here. The dialogue is far better, a quantum leap in fact. There is a noir-ish quality to it that is tantalizing. His eye for casting talented unknowns continues, as Moore-Cook and Bindman both shine. Bernard, who continues to impress, is a scene-stealer in a supporting role that you won’t soon forget. He’s an actor with the presence to carry franchise-level pictures, mark my words.
The drawback here is in the pacing and the editing. The film bounces around with a cornucopia of flashbacks which from time to time interrupt the momentum the film is building. This sort of thing can be frustrating to a viewer and as a critic, I tend to advocate simple storytelling devices to young filmmakers. Too many flashbacks can spoil a film like too much salt can spoil an entrée. Also, the movie is set in America, but the cast is British and it was filmed there. While I get the sense that Flemmings was trying to make a comment on American racial relations (a prologue Montage shows incendiary moments in American racial tension, from the Civil Rights era right up through the marches of Black Lives Matter), but there are too many English accents to make the movie believable as American-set. However, there is a killer soundtrack of classic R&B and retro-soul that is absolutely perfect for the film’s atmosphere.
In general, though, this is a movie that has a good deal going for it. Flemmings’ movies tend to be intelligent and thought-provoking which is a commodity that should be encouraged in any filmmaker. The good news is that this movie isn’t a step backwards for Flemmings; he’s moving in the right direction. I wouldn’t be at all surprise if his next movie made a serious impact on the independent movie scene. No pressure, right?
REASONS TO SEE: The soundtrack is essential.
REASONS TO AVOID: The edit could have been a bit tighter (loses steam when it bounces around to various elements).
FAMILY VALUES: There is profanity and some violence.
TRIVIAL PURSUIT: In addition to being a film director, the London-born Flemmings has also been a fashion photographer.
BEYOND THE THEATERS: Amazon, AppleTV, Google Play, Microsoft, Vudu, YouTube
CRITICAL MASS: As of 12/14/2021: Rotten Tomatoes: No score yet; Metacritic: No score yet.
COMPARISON SHOPPING: Dog Day Afternoon
FINAL RATING: 5.5/10