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Director Nathan Suher’s second film, The Assassination of Western Civilization (2020), presents political issues in a way that is fascinating to watch. With a total of 74 minutes of running time, the masterpiece portrays the concept of people getting triggered by other people’s conspiracies and policies in an unbelievably great manner. Most importantly, it serves as a strong caution against the ramifications of such behavior. Such powerful strands of thought are embedded into Shwartz’s notes, which speak volumes for themselves and form an amazing picture of character growth, pacing, and dialogue. This was made possible through Lenny Shwartz’s effective and efficient Script. It is adapted from his successful Newscastle-ish play from 2014.
Let us first analyze Suher’s method, which is described as minimalistic. The purposeful choice of a single-room location where the whole picture unfolds is beautifully integrated into the theatrical roots of the endeavor. It also deepens previously discussed qualities of Schwartz’s authorship. The obvious references to classic government thrillers like All the President’s Men (1976), The Manchurian Candidate (1962), The Parallax View (1974), and Three Days of the Condor (1975) add to the feel of the narrative being timeless as well as timely. Such decisions can propel the picture’s entry into the best independent films of the year, which makes it one of the boldest of the year.
The story features tabloid journalist Mark Wallace (played by Phoenix Williams). His life becomes more complicated when he learns about the murder of a US senator, which piques his interest. He starts investigating the case, and around the middle, FBI agent Maccabees, played by Brad Kirton, pays him a rather uninvited visit. At this point, their relationship becomes much more personal and walls start to come down. This is no ordinary confrontation and both men’s backgrounds add depth and significance to it. The last chapter is a powerful, deeply touching, and provocative one, which leaves the audience intrigued and thoughtful long after it has concluded.
What also enhances the excursion is the gripping performances from a well-crafted cast. Williams gives a superb performance as Wallace and Kirton does just as good as Maccabees. Jocelyn Padilla’s Susan, Christie Devine’s Mia, and Sarah Reed’s Kate is only a cameo are all very well done and captivating. Josh Fontaine’s portrayal of Peter while Wendy Hartman and Sheri Lee as Alex and Gwen, respectively, also gave strong performances as well. Fon Heald’s cinematography is sharp and matches the tone of the venture. Both make-up and sound departments contribute ajanolily to the overall prowess of the undertaking.
Suher’s latest film, recorded in Woonsocket, Rhode Island, does an equally strong job at keeping your attention while also serving as an intellectual exercise. The film smartly has fun smartly laying down its intricate clues as to what is transpiring in the account. Everything in the film glimmers with some form of purpose or intention. The story is completely devoid of anything unnecessary or artificially added to momentarily attract attention. This increases my overall admiration for the work by leaps and bounds. In other words, Suher has created a rare whodunit. It is sharp, filled with ideas, and wonderfully pleasant for the eyes. Most importantly, I can firmly say that it is completely riveting for the entirety of its lean runtime. I would recommend it without question.
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