NO TRAILER CURRENTLY AVAILABLE
First, the Recap:
Frenetic resolutions. In the heat of any conflict, outward or inward, there come moments where the path we choose will dictate the outcome of the circumstances involved, whether they be to our benefit or detriment. When it’s the latter that’s in play, however, can it be fair to say that, sometimes, the ramifications of decisions made when all parties are in unsettled states of mind can simply lead nowhere but down, even when the intentions present were aimed for still questionable good? For one man named Omar (Ogden Buck), it is the reality of a newly (and unexpectedly!) pregnant girlfriend Stephanie (Dominique Madison) and the concerns of how they can deal with the fallout. For police officer Carlos (Angelo Reyes), it is a building legacy of darkness and duplicity that haunts his attitudes and actions. When events unfold that bring their worlds together, could tragedy be calling both of their names?
Next, my Mind:
Candidly grounded, wholly realistic, brutally honest, and heartbreakingly relevant, this 17-minute indie short film offering from writer/director/producer Angelo Reyes, writer Toby Osborne, producer Alicia Kelley, and executive producer Albert Alvarado carries the flag of our contemporary times high with an affecting, unapologetically believable foray into the realms of police violence and scrutiny, racial profiling, circumstantial judgement calls, misguided views of justice, desperation for a better life, mental instability, the dangers of not seeking out the facts before acting, and precarious overall choices made, all of which collide here with the force of a runaway train. What always strikes me about films with these societal themes is when what we are entreated to is actually based on true events, which this film is, firmly infusing that final level of emotional and evocative punch to the story, not just reminding us of things that need to be addressed in this world now, but also that we should never become apathetic towards it based on how sadly and tragically consistent incidents occur.
Following the initially separate then volatilely combined paths of one smart, honest man mixed up in less-than-honest means to cope with an unanticipated situation with his girlfriend yet sees what he believes is the way out and a disenchanted, resentful, bigoted cop on the verge of meltdown whose harsh outlook and notions about all around him are tainted and dictated by his own past and present decisions, it’s an unflinching reality check to say the least, yet shines its deeply revealing light with absolute purpose and resolve, provocative to the extent that it SHOULD cause us as the viewer to experience empathy and shock in what’s depicted, then take stock of what’s happening in this country, especially right now, and make our own, ideally constructive, determination and commitment to somehow be a part of seeing all this chaos done away with. It’s far easier said than done, and even more so from the vantage point of those so drastically impacted and desiring well-deserved equity. Yet, in many respects, doesn’t this paint the real portrait in a grander scope of what’s ultimately needed–a return to our humanity, equality, and the ways to disagree without hate while holding those who do perpetrate malice and animosity utterly and justly accountable.
This said, it only gets emphasized that much more as this film’s potently, soberingly jarring finale is reached, as it truly presents that illustration of innocence vs. insanity in the context of the highly fluctuating circumstances that have lead up to it, and I give full measure of credit to Reyes and Co. for jolting us with this and then letting it resonate in our minds from that instance on rather than trying to draw it out more than necessary, as I feel that would have definitively lessened the narrative’s intent. The project is shot beautifully, with plenty of focus on the characters involved and visually enhancing the drama to the right degree while keeping the emotive nature of it alive as well, simmering under the surface, waiting to explode. The camerawork captured this wonderfully throughout, regardless of calm or commotion. In this case, the film’s music score lends a nicely planned out undercurrent of building tension as well, not overtly so to be distracting, but rather effectively accompanying events like it should.
Buck is a solid force of nature to contend with here through his role as Omar, a man whose intelligence and basic need to aid in his family’s survival is only potentially marred by the means he chooses to try and supply that aid. When the entire realm of possibilities he seeks is upended by a call from his girlfriend advising she’s pregnant, it initiates a series of movements on Omar’s part that are filled with all the right objectives and goals, but could end up bringing disaster. It’s a sometimes quiet then other times eruptive performance Buck injects into the role, and it plays so perfectly with the nature of the character and the in-a-dilemma-yet-grasping-onto-hope-and-escape that Omar projects during the varying stages of sentiment and sheer passion he exudes as each element of the journey is faced. But, as always, will his chosen ends justify the means being pursued, and Buck likewise provides us with one fantastic sequence during the finale that showcases this shifting state of being with deft, wrenching precision. An excellent turn all around.
Being in front of the camera as well as sitting behind it advising what everything is to be and how it unfolds, Reyes brings an intensely fiery performance to bear via his turn as Carlos, a veteran cop who has apparently had more than his fair share of tension and disharmony in his chosen profession, thanks to what appears to be a tumultuous past he refuses to face or get help for, even at the insistence of his own wife. Traveling the streets with a partner who’s just as annoyed and understandably concerned about his mental state of being, Carlos shakes people down and casts an ugly shadow thanks to his words and deeds under the cover of his badge. But, when the circumstance arises that puts him in a place of having to make what he feels is a correct option, it could truly become a catalyst for poor judgement in a haze of panic, forced uncertainty, overconfidence, inherent hate, and pure lack of control. It’s a brash character to bring to life, and Reyes does it with excellent flair and acutely believable vigor that absolutely suits the character.
Primary supporting roles are found through Madison’s highly charged turn as Omar’s girlfriend Stephanie, a woman on her own verge of a breakdown in not just finding out she’s pregnant, but also in the subsequent aftermath and the drastic upending of her life it’s causing and not seeing a clear path to abscond from it all, and Sean Hankinson‘s purposefully muted but intense performance as Carlos’ partner Ben, a by-the-book, legitimately decent cop whose worry over his partner’s frame of mind is more than warranted and something he’s grown weary of, despite every attempt to make Carlos get the help he needs. Additional supporting turns arrive from Sue Prado as Carlos’ wife Vanessa, Sheila Lee as Omar’s tough-as-nails mother Madison, Kelvin Sealy as Omar’s boss Mikey, Joseph Rodriguez as Omar’s friend Trey, Malcom Powell as a local dealer Carlos chooses to constantly harass, Gerald Louis Campbell as Stephanie’s domineering father Joseph, Alicia Kelley as local bank teller Sarah, and Alliss-Mae Padilla as Omar’s innocently shady friend Amber, along with appearances by Brittany Cuffee, Adrian Rivera Hernandez, and Terrell Hill.
So, in total, “21st & Colonial” is yet another very necessary short film effort that utilizes it’s true story-based foundations not to preach at us, but rather act as an awareness-raising, assiduously created vehicle for change in choosing to display the story told in such a manner so as to elicit thought and hopefully long-lasting realization that if we don’t find a way to not just stop the escalating instances of police misconduct by a few that taint the greater whole but also resolve the resurgent and deepening racial divide this day and age is producing, then maintaining the belief that we ARE “ONE nation under God, indivisible, with liberty and justice for all” will become all the more difficult to show evidence of here, and THAT would be a monumental tragedy indeed.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
