VINDICTA (2023)

October 5, 2023

Greetings again from the darkness. Sometimes low budget horror movies work, and sometimes they don’t. As a general guideline, the less complicated they are, the better the chance of successful entertainment. Director Sean McNamara (THE KING’S DAUGHTER, 2022) is one of the more prolific directors you’ll find. His work includes TV series, videos, short films, and feature films. He currently has 15 projects in the hopper. Sean is a busy man.

With a script by Ian Neligh and Steven Paul, this film offers moments of hope, but mostly it’s too ambitious … a rare criticism these days. Trying to tackle too many story lines creates a mess in the exact place a decent little genre film could have been born. Elena Kampouris (MY BIG FAT GREEK WEDDING 2 & 3) stars as Lou, a rookie paramedic just out of training. Fire Chief Rick (Sean Astin, THE LORD OF THE RINGS franchise) reluctantly assigns her to a first ride in the middle of riots, protests, and fires in a rough part of Seattle.

In addition to the mass chaos in the city, there is a masked killer on the loose – one who thrives on vicious and violent attacks. Suspicions arise when the same building burns that burned five years earlier, killing a mother and son. Fortunately, Lou is not a typical newbie. She possesses fighting skills and is fluent in Latin and Mandarin. Latin comes in quite handy since the killer scrawls his messages in Latin, leaving Lou to assist Detective Russo (Travis Nelson) with clues in the case.

In addition to her skills, Lou is also the idealistic daughter of retired cop played by Jeremy Piven (“Entourage”). The two are so close she even has a bobblehead of him on her car dash. Lou still blames her 9-year-old self for not saving her mother’s life, no matter how many times people remind her she was just a kid. Perhaps you are starting to sense the issues with the film, and I have yet to mention the corruption and greed at the heart of the killer’s mission of vengeance. One nice touch is the mask … it’s Michelangelo’s David, and it’s plenty creepy, even if most of the characters here don’t come across as real people. Elena Kampouris is to be commended for giving her all to the role, but the writers and the film likely would have benefited from the KISS approach,

Opening in select theaters and on digital beginning October 6, 2023

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Posted by David Ferguson

THE WALK (2022)

June 16, 2022

Greetings again from the darkness. This “inspired by true events” film opens with a history lesson: In 1954, in the landmark Brown v Board of Education case, the Supreme Court of the United States ruled racial segregation of public schools was unconstitutional. This was followed in 1965 with SCOTUS ruling there should be no more delays in desegregation, and another ruling by the high court in 1971 stating that busing students was appropriate in facilitating desegregation. But it took the NAACP bringing suit against Boston Public Schools before a specific court ruling in 1973 forced the city to comply by the following year. The film from writer-director Daniel Adams (THE LIGHTKEEPERS, 2009) and co-writer George Powell picks up in 1974.

Justin Chatwin (“Shameless”) stars as Boston Police Officer Bill Coughlin, a born and raised “Southie”, whose daughter Katie (Katie Douglas) is finishing up one school year and looking forward to her upcoming senior year of high school. Her world is rocked when her best friend receives a letter stating that she has been reassigned to another school as part of the desegregation. Reacting as a teenager would, Katie claims it’s all unfair and she should get a normal senior year without having to share her school with black students. What we soon learn is that those black students feel the same way. Wendy Robbins (an excellent Lovie Simone) lives with her EMT dad (Terrence Howard), and her faith and courage and maturity aren’t quite enough to overcome the emotions, but she’s strong enough to follow in the steps of MLK rather than the Black Panthers.

We see that neither side wanted it handled this way. “Why do they hate us?” It’s the question asked a couple of times, and goes to the heart of the cultural and racial divide in Boston at the time. Officer Coughlin is at the center of much of what happens. He’s struggling with the bubbling emotions in his city, his concern for his daughter, his reassignment to protect the black kids getting bused to south Boston, and facing threats from Johnny Bunkley (Jeremy Piven), a local thug recently released from prison. Bunkley is protected by McLaughlin, the neighborhood power broker played by Malcolm McDowell. On top of all that, Coughlin considers himself fair, but wonders if he’s a racist … and wonders how exactly to define the word (a dilemma that still exists 50 years later).

The film does capture what a tumultuous time it was to be a parent, a kid, or a cop. Everyone was uneasy and looking for someone to blame and a way to maintain the status quo. Many characters are involved here, but most of the focus is on Coughlin and Katie. His challenges stem from work, home, and the neighborhood, while hers are that of a teenager feeling wronged and smothered. Some of the sub-plots work, while others are misfires. It’s vital to keep in mind that the story is set in 1974 … the first year of busing for desegregation in Boston public schools.

As powerful as the issues covered are, the film likely would have benefited from better casting, and a simplified and focused script. Mr. Piven is a fine actor, but miscast here as a street thug. Mr. Chatwin lacks the physical presence of a cop who commands respect, though his sensitive nature is a plus given his inner turmoil. Malcolm McDowell is always a treat to watch, but casting a Brit as a native Southie only exacerbated the inconsistencies many had with the accent. The film is one to watch for the history lesson, though not so much for cinematic expertise.

Opens on June 10, 2022

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Posted by David Ferguson