WATCH THE TRAILER HERE
First, the Recap:
Just when you think you know it all. Life is often made up of those points in time when we think we’ve finally arrived, finally figured it all out, and look forward to simply, well, BEING. However, why does it then tend to BE within those instances of settled mindset and assured futures that said life decides it’s time to once more shake things up? Young yet now-veteran agents of Section 62, Trevor (Daniel Main) aka: Cargoboy and Kyle (Jeremy Behie) aka: Pocketman, find themselves content in their growing mastery of both spy craft and playfully annoying mischief, having dealt with recent events that already changed them forever. But, when the elite assassin known as The Viper Sniper (Sean Berube) makes a sudden reappearance, it sparks a cascade of new revelations that not only give keys to past incidents but will drastically alter Trevor and Kyle’s partnership along with the dynamics of everyone else involved with Section 62.
Next, my Mind:
Questions of loyalty, alternate realities, betrayal, interfering with time and associated occurrences both past and present, family, selflessness, and the specter of destiny’s inevitability vs. ability to be manipulated are just some of the primary and underlying concepts explored in both grand and more succinct fashion via this third installment of writer/director/cinematographer/editor Clay Moffatt‘s “Pocketman & Cargoboy” trilogy that continues to maintain its roots in cinematic mainstream features such as “Spy Kids” and “Agent Cody Banks”, buoyed by an ongoing mix of intentionally hammy silliness, action, sci-fi, and pertinent life lessons. Partnered with producer Adam Berardi and executive producer Deb Moffat, we are entreated to this uncomplicated, entertainingly fun romp that aims to not take itself too seriously, yet for this critic remains a solid example of the beating heart of indie cinema and those behind it who strive to make the best of what they have to work with and do so with an evident passion that makes the genre as a whole so overtly appealing to me.
Now, being transparent, this critic had seen and reviewed the original film, but had NOT ultimately seen the second outing before now taking in the third part. However, thanks kindly to director Moffatt, I was able to gain enough plot point summary to understand this current narrative that sees Trevor and Kyle facing new challenges exiting events experienced through “The Rise of Sir Longbottom”, now being forced to make choices that will potentially undermine their longstanding comradery and irreversibly reconstruct reality. I will then freely admit that, in itself, this thematic path is nothing new contextually within the confines of many a science fiction film effort, but it all manages to come together in a manner here that allows events to be freshly feasible enough to enjoy and smile at in not having to sit back and ponder deeper notions or ideas, evoking the same jovial, family-friendly mood as the previous two films but not completely sacrificing, in my opinion, its accessibility to both teens and adults.
Additionally, we’re still provided the subsequent and recurring themes of teen overconfidence in initially trying to outdo one another, the inevitable “we’re invincible and can do anything” bravado, and rebellion (albeit (again) playful and mischievous) against authority, all of which finds itself culminating into an ultimately unified front that comes from working differences out and realizing that more often than not teamwork is much better than flying solo. This latter point, though, is truly put to the test and leads to a finale that more than sets the story up for more exploration. Whether this actually comes to pass we will have to wait and see, but I will just advise to keep viewing into the film’s credits. The greater visual and overall execution of the film very solidly equals that of its predecessors, straightforward with special effects that serve the proceedings with due impact, even if some still might wish to try and see them as somewhat lacking in this day and age of masterfully delivered CGI.
Truthfully, I must repeat what I had stated in my review of the debut project in 2018 in that this IS an indie film, and to grievously fault any kind of technical aspects would be to take away what’s more important here–the sincere passion and effort that it takes to even MAKE a film, much less with abbreviated budgets, is far more noteworthy and impressive than any shortcomings in production value relative to larger budget features. Main and Behie have assuredly grown up quite a bit, both literally and through the film’s primary antagonists they embody respectively, Cargoboy and Pocketman, seasoned agents of Section 62 who’ve very much been made TO mature faster than they should have thanks to the actuality they’ve now lived for several years–being secret agents. Mains exudes wonderfully witty machismo he always has as Cargoboy, the comically arrogant yet fully committed agent who discovers that decisions he now has to endure could undermine all that he’s fought for and permanently damage his most prized partnership.
Likewise, Behie sustains that purposefully awkward, confident yet often hilariously meek demeanor as Pocketman, the more academic of the pair who must sometimes find the fortitude to stand up more strongly in the face of adversity while still managing to be his naturally affable self. The duo play off each other astutely, and it’s the dichotomy evident in their individual character’s varying attitudes that lends itself to both the humorous and serious moments they encounter, hence why the two actors work so well together in this series. Berube gets to absolutely relish being over-the-top as the effort’s primary villain, the Viper Sniper, an assassin who’s out to track down Trevor, though not for the reasons one might expect. As he drops a proverbial bomb that will shatter everyone’s perspective of the agent he’s pursuing, Viper Sniper’s ultimate agenda is the catalyst that shakes up the entire storyline, with Berube channeling all the gleeful menace he can muster to superb effect throughout, befitting the role beautifully.
Natalie Maher takes over in this entry as Agent Diane Hill, Section 62’s current boss and often still the object of the boy’s juvenile fantasies. But, serious and wanting to get to the bottom of events that are spiraling out of control, Hill rallies the troops and looks to correct a mistake that could set things right. Maher plays the role well with her mix of beauty, wit, and toughness that suits Hill’s character. Taylor Dahl returns once more as senior Agent Mark Richards, trainer to younger agents and right hand to Diane in her mission to stop the Viper Sniper and his plans. Dahl infuses Mark with that confidence and skills that so deftly belie his outward appearance. Jason McCrite is Agent Fred Spade, another senior agent who may have hidden secrets that could hinder all that Section 62 is attempting to accomplish, especially if they remain unaware of his possible misdeeds already committed against them. McCrite is solid here in the role, giving the character a level of hubris that is both funny and lightly diabolical.
Primary supporting roles arrive aplenty and with wonderfully delivered quality from Ben Vazquez, Gianna Frangella, Reavis Dorsey, Ben Rojek, Gabby d Barbosa, Elizabeth Selby, Brenda Jean Foley, Adam Berardi, and man-behind-the-camera Clay Moffatt. I am always a fan of giving everyone involved a shout-out and when chance allows some specific words of admiration but am holding off on this here only in that so many of these supporting turns, to me, represent major and/or minor elements that are key to the story and I’d rather not give it all away. So, please accept my still-present congratulations on all supporting acting efforts, as I did enjoy you all! Additional appearances are made by Wayne Lundy and Taylor Neace. So, in total, “Wrath of the Viper Sniper” is a fitting conclusion for the current trilogy that just might find a means to continue its story should the filmmakers choose.
I must once more return to my previous summary shared in stating that it’s a solidly put together, family-friendly, entertainingly engaging, and view-worthy indie film project that you need to not take too seriously so as to simply sit back and allow yourself to escape to a time where things simply needed to be fun, enjoyable, and smile-inducing while also being able to appreciate the growing pains and true grit it takes to make a movie, put it out there, and aim for successes that is found in the indie community. I applaud the effort, faults and all, and say “March on, guys and gals, march on!”
As always, this is all for your consideration and comment. Until next time, thank you for reading!
