Of course, the point is that decency is not achieved, because no matter how much this film bites in certain places, it falls flat on the whole, not even being able to come up with all that much freshness to what material there is to a do-little narrative. The disturbing story of John Muhammad and Lee Malvo has a lot of intrigue on paper that is not given as much justice as it should be given, but Washington and Richmond most reflect an ambition for effectiveness that is explored enough by genuine strengths in storytelling to at least come close to decency. Due to the thinness in the story concept and, of course, storytelling, acting material is limited, but what material there is goes delivered on pretty effectively by the leads, with Isaiah Washington capturing the bitterness of an angry man pushed to low-down deeds by his being wronged, while Tequan Richmond takes advantage of a more quiet intensity to capture the disturbed depths of a boy brought to a new life in America by a man who will mold him into a traitor of it. Well, even in concept, this narrative regarding the story behind the horrible Beltway sniper attacks is still too thin in scope to be all that meaty, and yet, this is nevertheless a conceptually intriguing study on men's gradual movement into dark depths that finds itself sometimes brought to life by highlights in storytelling, and frequently brought to life by worthy performances.
Effective moments are there, helping in bringing the final product to the brink of decency, which, to be fair, was always to be within range, considering the value of this story which is done so much injustice by questionable storytelling.
For this, credit is due to director Alexandre Moors, whose meditativeness is generally cold in its near-abstracts sparseness, yet it sometimes utilizes thoughtful style and scoring with a genuinely effective form of subtle intensity. That's a shame, because, morbid jokes aside, this is a worthy story, but man, does its interpretation fall flat, in spite of certain genuinely commendable aspects.Ĭomposed by Arcade Fire's Colin Stetson and Sarah Neufeld, this often dully quiet and dryly meditative film's score is underused, but when it is utilized, it's pretty effective, with a refreshing bite that is beautiful by its own musical right, as well as fitting as a compliment to this drama's tone. I'd say that in that case, I should watch my step, should Isaiah Washington see this and actually have his own crazy breakdown, what with all of the Spike Lee films' rubbing off on him, but they're saying so little about this film that I doubt even Washington knows about it, and he's in it. Wow, this opener is probably too offensive, but hey, it's not like you've heard about this film enough to be interested in reading an article that deals with someone's opinion on it. Well, they probably should have seen this coming, because it seems like Muhammad Ali is the only black person who didn't go crazy when he went so deep into Muslim that he took the name Muhammad, and even then, that might be because he was releasing stress as a boxer, so if it wasn't Parkinson's disease that got him into retirement and unable to hold a gun, we'd be done for. Man, that's messed up on so many levels, and I apologize, particularly to the victims of the Beltway sniper attacks.
Forget a blue caprice, they should have called this "Black Guy Problems, White Guy Crazy", because no how matter how much black people get used to shooting things, just how many sniper assassins have been something other than white?. Terrorism hits Washington, D.C., and it's scary that it was committed by a traitorous American, with the scariest part being that the terrorist.
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