As (I can’t believe I’m writing this) American fascism is stepping out of the shadows, it feels like the right time to explore an infamous 1967 police raid that resulted in the death of three young black men.
The Hurt Locker director shoots in her trademark documentary style to let us feel the fear of the victims and witness the hatred of the cowardly officers.
But it feels like an opportunity wasted.
To make an impact, the director needed to drag her audience into the drama.
But the closest thing we have to a surrogate is John Boyega’s security guard Melvin, whose dilemma brings to mind that old line about evil flourishing when good men do nothing.
Melvin pretends to be on the officers’ side so he can temper their violence.
But did he, in fact, facilitate it?
It’s a conflict that writer Mark Boal seems reluctant to explore.
As this over-long, rambling film turns into a courtroom drama, Melvin retreats to the sidelines.
It’s an explosive subject but the drama never catches fire.