Any competent filmmaker can fire a shotgun in the face, but very few directors have the ability to prolong the tension preceding that shot, to tighten the screws and increase the pressure of a scene and its characters to such a point that the inevitable becomes viscerally thrilling and a welcome relief from clenched fists and tense muscles. Jeremy Saulnier It has what it takes in that regard, as evidenced by films like Blue ruin (2013) and his masterpiece, Green room (2015), and he's back with a new film that proves he hasn't lost his touch. Rebel Crest It is a beautifully crafted pressure cooker, grounded in simplicity and truth and fueled by a palpable rage against injustice and corruption.
“This is fucking surreal,” Terry says (Aaron Pierre) as his sunny morning goes from bad to worse. Riding his bike to a small town to bail his cousin out of jail, he is hit by a police car and is soon questioned by two officers with their guns drawn. They confiscate his money on suspicion of being drug-related, tell him to leave or face charges and drive off leaving nothing in the air except dust and simmering rage. Terry is not one to let things go, however, and despite his best efforts to settle things amicably with the town's police chief (Don Johnson), the situation quickly goes from Kafkaesque to dangerously violent.
Yeah Green room remains the pinnacle of Saulnier's mastery of tension and intensity, and Blue ruin It sits comfortably as a slow-burning suspense masterclass, then Rebel Crest It feels like an equally satisfying blend of both, with bursts of low-key action that release the pressure. He puts as much care into his characters as he does into his scenes, and the result is a rollercoaster of increasingly tense climbs into conflict, thrilling descents into violence, and emotional relief when it's all over.
Pierre is the heart and soul of the film, bringing a steady, confident presence as the stranger who comes to town not knowing what's coming, but prepared to meet it head-on if necessary. He's tall and has a piercing gaze, and as befits an ex-Marine, he gives Terry a controlled stance even when you know his mind is racing. The shifts into tactical/action mode are swift and believably portrayed, giving viewers an action hero whose abilities and intentions are never in doubt.
Johnson is opposite him in the role of corrupt Chief Burnne, whose intentions, first glimpsed beneath the thinnest veneer of Southern civility, are revealed loudly and proudly with a villainous charisma few actors can match. He never overplays his hand, instead playing Burnne with the same control as Terry, and their verbal sparring is among the funniest. Rebel CrestIt has many high points. Ana Sofia Robb In it, she plays a law enforcement employee who has also fallen victim to the city's power games, and she's a funny but touching sidekick. The film isn't a comedy, but the biggest laughs come when she thanks a certain veteran for his service.
Rebel Crest avoids race or racism being part of its text: the police never utter a single insult and their efforts at corruption and harassment target everyone equally, even if it is an unavoidable target for most viewers. Terry is black, while most of the police officers (David Denman and Emory Cohen The most well-known characters are white, but Saulnier’s script knows that focusing on racial elements is unnecessary and redundant. But more than that, it would threaten to obscure or dilute the real, less publicized litany of complaints about a system designed to keep everyone except the rich and powerful down and in their place.
Almost everything that happens to Terry at the hands of the police is technically legal in too many jurisdictions. From civil forfeiture that gives police the right to seize money and property if they are deemed suspicious, to the ability of courts to modify sentences and bail or fines, the system is not designed to help people, especially those who cannot afford to pay the price. Saulnier is equally interested in the changing role of the police in this country, as one officer says, with a smile on his face, that civil unrest has become “a growth industry” for them.
There is a lot to digest in Rebel Crest Saulnier's script makes it clear why both Terry and viewers should be angry, but none of that detracts from the film's genre ambitions. Even at just over two hours, the film cooks along as downtime is used to catch its breath before the next development and denouement. The pace never falters, even when we sit back to take in information about judicial rights, military acronyms, and the functionality of police patrol cars. Director of Photography David Gallego ensures that rather than being visually disappointing like most Netflix original action movies, this one actually looks and feels like a real movie. Numerous tracking shots keep the pace up without being ostentatious, and the action keeps pace with a realistic feel more interested in efficiency than bombast. The soundtrack is by frequent collaborators Brooke and Will Blair It also enhances the scenes, bringing additional energy and atmosphere.
On paper, Saulnier’s fifth feature could have easily been a fun action thriller starring Jeff Speakman or Jason Statham, but he’s a meticulous craftsman who gives everything a little more focus. He adds weight to the emotion. Narrative details, sure, but it’s the emotional weight our characters carry and the sheer tension that rests on our own shoulders as the various sequences unfold that raises the bar beyond what Netflix viewers are used to. Let’s hope we don’t have to wait another six years for his next film.