Red State

Kevin Smith’s last film was the cinematic abomination that was Cop Out. If, after that film, he had announced that he would be making only two more films you would have been thinking that was two too many, though perhaps with a touch of regret when reflecting on how Smith’s bright start burnt out so quickly. Smith didn’t make that statement then, but he has made it now, meaning his new film Red State is his penultimate one. The good news is that, if this is the long goodbye, Red State will leave a few decent memories. Smith has always been a hands on kind of guy and here he writes, directs and edits a film that is short, smart and funny without ever threatening to become a classic, though its one-liners and subject matter could have it heading towards cult status. I’ve no doubt Smith had a hand in the marketing campaign, where this film is described as “An unlikely film from that Kevin Smith”. Ego alert there, but Smith is making a fair point as this is well off his usual directing path, no doubt recognising (or at least being made aware after reading reviews) that the usual buddy-ing banter of his last few films has worn very thin by now. Not hanging around, the film goes straight into the main story as three horny teenagers find themselves with a lot more to cope with than they anticipated when they arrange a sexual liaison with lonely caravan dweller Sarah (Melissa Leo). Instead of sordid antics, they find themselves prisoners of enthusiastic preacher Abin Cooper (Michael Parks ) and his baying flock. Cooper’s stock trade is delivering sermons on fire and brimstone, though he also has a nice sideline in murdering perceived sinners. The boys find themselves next on the block. Pretty soon ATF Agent Keenan (John Goodman) is on the case on things go a bit manic. Subtle this ain’t, as Smith attempts to give us, if not the biggest, certainly the loudest gun fight since Heat. This is ear bustlingly entertaining stuff, though it could easily be argued it’s basically just a filler for the killer dialogue that seems to have deserted Smith in recent years. What this film does have is two great performances at its core from Parks and Goodman. Parks is superb, completely convincing as the pastor and Smith gives him plenty of camera time, including the luxury of a five minute lecture not totally relevant to moving the film along. That’s a risk from Smith but Parks holds the attention enough that he gets away with it. Goodman is also highly watchable as the cynical agent morally at odds with the orders he has been given, but knows he has to play the bills somehow. Smith’s direction cuts to the chase from scene to scene, even utilising a few Greengrass-esque handheld running shots. On the downside a few supposed shock moments are massively telegraphed and a few decisions made the religious congregation don’t ring true. The ending is of interest as Smith, probably realising that gunfire can only take you so far, has a post incident Keenan telling the story of how the battle concluded to his superiors. It’s a different take from the norm, though some may find to leads to a somewhat abrupt finish. So, one film to come from Smith then and as that’s rumoured to be an ice-hockey based comedy, it’s more than likely this will be his last film that sticks in the memory and, much like the killer last line in this film, at least it’s a decent one.

The OC Film Sting Final Verdict

A welcome return to form for Smith. This is a shotgun blast of fun and thrills. Rating: 7/10.