By Andrew Buckner
Rating: ***** out of *****.
Director Nathan Suher’s sophomore feature, The Assassination of Western Civilization (2020), is a brilliant political discussion wrapped-up in an effortlessly enthralling storyline. The 74-minute project is a unique, magnificent take on the idea of being easily “triggered” by the ideas, especially those of a policy-making and conspiratorial nature, of others. It is also a potent warning against the deadly consequences of such actions. These resonant intellectual threads are woven into a masterful tapestry of confident pacing, thoughtful dialogue and organic character development. This is via the efficient and effective script from Lenny Schwartz. It is based upon his successful play Newscastle (2014).
Suher’s minimalistic approach to the material, which consists of the entire picture being erected in one-shot and unfolding in a single room, beautifully compliments the stage roots of the endeavor. It also strengthens the previously stated qualities inherent in the authorship from Schwartz. The obvious inspiration from such ever-relevant governmental thrillers as All the President’s Men (1976), The Manchurian Candidate (1962), The Parallax View (1974) and Three Days of the Condor (1975) heighten the timeless and timely tone of the narrative. Such bold decisions help fashion the foray into a triumph of independent cinema; one of the best movies of the year so far.
The plot of the IM Filmworks production revolves around tabloid reporter Mark Wallace (Phoenyx Williams). After news of a United States senator being slain comes to his attention, Wallace finds himself quickly being drawn further into the case. His professional interest in the incident takes a personal turn when he finds himself being visited by FBI agent Maccabees (Brad Kirton) near the midway mark. From herein, the tale becomes a verbal faceoff between Wallace and his visitor. It is one that is as much a social statement as it is a showcase of steadily mounting intensity. This all leads to a finale that is as evocative as it is thought-provoking.
What also helps the excursion is the all-around gripping performances from a well-chosen cast. Williams is superb as Wallace. Kirton is just as good as Maccabees. Jocelyn Padilla’s enactment of Susan, Christie Devine’s go as Mia and Sarah Reed’s brief work as Kate are all skillful and engaging. Josh Fontaine as Peter, Wendy Hartman as Alex and Sheri Lee as Gwen all offer strong portrayals. The cinematography from Ben Heald is sharp and fitting for the tone of the venture. Both the make-up and sound departments offer a commendable contribution to the overall prowess of the undertaking.
Recorded in Woodsocket, Rhode Island, Suher’s latest more than satisfies as both an intellectual exercise and as a nail-biting suspense yarn. The film has fun smartly laying down its intricate clues as to what is transpiring in the account. Regardless, it all gleams with purpose and intention. Nothing in the chronicle is unnecessary, unearned or artificially rendered to momentarily absorb audiences. Such adds immensely to my overwhelming admiration for the labor. Consequently, Suher has crafted a rare whodunit. It’s sharply-made, notion-filled and pleasantly favors speech over effects. Most importantly, it is completely riveting for the entirety of its lean runtime. I cannot recommend it enough.