Red Right Hand, 2024.
Directed by Eshom Nelms and Ian Nelms.
Starring Orlando Bloom, Andie MacDowell, Scott Haze, Chapel Oaks, Garret Dillahunt, Mo McRae, Brian Geraghty, Kenneth Miller, Nicholas Logan, James Lafferty, Alexander Park, Jeremy Ratchford, Daniel David Stewart, Harrison Stone, Zach Meiser, Tom Fugedi, and William McKinney.
SYNOPSIS:
Cash is trying to live an honest and quiet life, but when Big Cat forces him back into her services, he proves capable of anything to protect the town and the only family he has left.
Red Right Hand is the kind of action flick filled with familiar beats and plot trajectory that, for most movies, become the go-to notes on what to discuss when explaining why a film didn’t work. Orlando Bloom’s Cash is the standard protagonist looking out for a relative, which in this case is his young booksmart niece, Savannah (impressive newcomer Chapel Oaks), and her drunken father (Scott Haze), still grieving the loss of his wife.
Aside from struggling in the parenting department, Dad’s alcoholism, refusal to socialize or go to church, and inability to make payments on the family ranch have caused Cash to end up in debt to a career criminal who runs the small Appalachian town, Big Cat (a scenery-chewing Andie McDowell) following taking out a loan it turns out he can’t go back.
It’s only a matter of time before Cash is forced to reenter the criminal, substance-abusing life he thought he had escaped to pay off those debts and, this time, escape for good. Anyone who has ever seen an action movie before will also be clued in that there is no way this ends without third-act carnage that sees Cash desperately gunning his way through generic henchmen to save his family.
What separates this apart from any other VOD action movie out there available is the directorial strengths of brothers Eshom and Ian Nelms (responsible for underappreciated similar gems such as Small Town Crime), who, collaborating with screenwriter Jonathan Easley have an indisputable knack for finding the grounded grit in such scenarios and effectively portraying the majority of these characters with humanity.
Not to sound cliché, but the small town itself feels like a fully fleshed out location by way of these characters, whether it’s Cash reminiscing on wasted time in his life or a likable, protective pastor unafraid to throw a punch if things come down to it. As Savannah becomes endangered by association, she also finds herself putting down the books and learning how to shoot firearms, which, in theory, sounds like a potentially misguided plot thread, but here is simply the reality of the situation: the film isn’t pro-gun, anti-education, but rather characters, even the young ones, doing what they must to survive in this specific situation and lifestyle.
The filmmakers also succeed at bringing out the Southern charisma in these actors, ensuring we care about them every step of the way and every moment they find themselves in danger, especially since no character here feels guaranteed safe. There isn’t a sole focus on action but also on the lives of each character, such as the drunken father on a road to recovery that feels organically acted. As Cash gets in deep with Big Cat, pulling off a series of Grand Theft Auto-inspired missions to clear the debt, there is also suspense in wondering how long this charade can be kept up before innocent bystanders looking to bring forth justice are caught in the crossfire.
The story sometimes lacks momentum and might have benefited from a tighter edit. Still, when it does come to the blood-drenched shootouts, the Nelms brothers continue to demonstrate their unmistakable talent, especially when it comes to utilizing space and geographical awareness with characters carrying out assaults on large compounds that also happen to be laced with violent booby-traps. Shootouts are neatly staged without relying on excessive cuts but rather simply following characters through hallways or around rooms, escalating the intensity.
Once again, it’s also encouraging that once the film enters full-blown action territory, Red Right Hand has done more than enough to earn emotional investment. It’s difficult to say there is anything original, profound, or great here, but goddamn, the Nelms brothers excel at small-town criminal underworld action stories and depicting the ensuing violent chaos with stakes, clarity, and human compassion.
Flickering Myth Rating – Film: ★ ★ ★ / Movie: ★ ★ ★
Robert Kojder is a member of the Chicago Film Critics Association and the Critics Choice Association. He is also the Flickering Myth Reviews Editor. Check here for new reviews, follow my Twitter or Letterboxd, or email me at MetalGearSolid719@gmail.com
