Executive Producer and Actor John Boyega, of Star Wars sequel trilogy fame, gives a strong performance as Brian Brown-Easly, an Iraq war veteran who is suffering from PTSD. Lance Cpl. Easly is apparently not taking his medication and like many, does not have the financial, legal or emotional tools to deal with the injustice he is facing at the Veterans Administration. The film is based on a true story. And according to the credits, to this day the VA still owes him $892 dollars and an apology for siphoning this sum from his Wells Fargo account.
There are times when I wonder why a film got a green light to be produced. Usually though, this thought is triggered by a bloated Hollywood production where the actors are just phoning it in and having what feels like an elaborate inside joke. Here, it’s the opposite, a long list of no doubt earnest Executive Producers couldn’t catch the obvious or speak truth to power — the film is too literal, there is no strong foil, there is no real conflict, therefore this is no enduring drama that can sustain itself for 100 minutes. No there, there.
The classic heist film like Dog Day Afternoon was also based on a true story but you’d be hard-pressed to forget Pacino outside the bank with a crowd of onlookers yelling, ”At-ti-ca!, At-ti-ca!”. A reference to the New York State prison and the riot that occurred there, which killed 43 people. This scene was improvised on the spot by Pacino. …It’s a movie.
The filmmakers seem to want to stay as true to the real story as possible. In that case, this film should have been given to the immediate family as a gift and to the VA as a cautionary tale. But a movie audience expects and deserves more. The filmmakers were trapped by the truth. That’s not something that is easily forgiven in a narrative film.
The real difficulty here is that once Michael Kenneth Williams shows up, there is at least a modicum of possibility that this film will take off like a rocket. That all of the introspection and endless phone call scenes will simply be a setup for some spectacular, powerful, even funny action. But it never materializes. Even Kafka has a powerful ending in The Trial. In Breaking, it’s like watching a game winning pass drop out of a receivers hands in the end zone…in super slow motion.
As for the late great Michael Kenneth Williams, even with both hands tied behind his back, he still lights up the screen and owns every scene he is in. It was like the filmmakers chose to overlook a diamond in a mine to stare instead into the abyss of an empty cinema.