In February 2002, in the initial uneasy
period after 9/11, a series of murders was to begin that would stretch across
the United States from Washington to Alabama before eventually in September
leading up to the Interstate 495 or the ‘Capital Beltway’. The rampage was being conducted by a pair of
snipers driving around D.C., Maryland and Virginia and was to become one of the
worst spree killings in modern American history.
The perpetrator was originally reported
as presumed to be a Caucasian in a white van, but was eventually identified as
John Allen Muhammad and his 17-year-old protégé Lee Boyd Malvo – two African
Americans driving a 1990 Blue Caprice.
Alexandre Moors’ new film is based on their father-son relationship and
how they came to conduct such an explosion of violence.
The narrative begins with Lee (Tequan Richmond) being abandoned by his
mother and having to fend for himself before eventually meeting John (Isaiah Washington), himself desperately
trying to regain contact with his own children.
This symmetrical emptiness brings them to form a quick bond as John
takes him in and teaches him to drive, shoot and steal.
John’s disdain for society due to the
separation from his wife and children leads him to begin to fight Lee and
encourage him to become violent in order to get revenge on a society that has
failed them both.
Moors’s patient direction and editing
along with Brian O’Caroll’s gorgeous
cinematography give them film a harrowing pace that is building to an
inevitable climax. Even though the narrative
is inescapable (if you know the true story), the film takes it’s time to get
there and substitutes any gratuitous violence for more of the character
development.
Lee’s story is a tragic reflection of the
many young American men drawn to violence.
An early scene as he waits a shopping mall shows a number of army
recruiters attempting to get him to join up – an ironic foreshadowing of what
would eventually happen to him. In a
country full of guns, it feels that his vocation is unavoidable.
As disturbing as the subject matter is,
the film is a beautiful evil and tries to understand the context of the
notorious rampage and fit it into a post-9/11 narrative. A 2003 made-for-TV movie was quick to exploit
and sensationalise the tragedy, as opposed to the more sober reflection from Moors
who has used it to explore greater themes of masculinity, ethnicity and
violence: An American buddy-movie at it’s
most terrifying and powerful.
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