The third film in Steve McQueen's Small Axe anthology was as different to the preceding two films as it was equally absorbing with a nuanced performance by John Boyega in a role that he deserved after the fiasco that was Finn in the latest Star Wars trilogy.
As usual, McQueen and cinematographer Shabier Kirchner shot an immersive film with lots of handheld footages and one-takes that placed the audience into the situation. Regardless whether it was a nail-biting chase-and-capture scene or a simmering, laden-with-subtext, family meal, the audience were made to feel part of the moment.
However, to be clear, this was not a "cop film" nor was it an origin story of Leroy Logan (see his wiki), instead and, unexpectedly, this was more a film examining the father-son relationship between Logan and his father. Tellingly, the film bookended with scenes of the pair and how they have changed but yet, ultimately, more or less still the same.
Kudos to Steve Toussaint for a passionate performance that effectively conveyed Leroy Snr's anguish and pride.
However, this film was really a showcase for Boyega who was wrought through a gamut of emotions through the film's brief 80 minutes. His was a study in restrain and control, such that when he finally let loose, the impact was stark and resounding, and you could absolutely see it all over his face. Similarly, even in the quieter final moments, his facial and body language conveyed the weight within those simple words.
Distinctively different from the righteous anger of Mangrove and the hopeful joy of Lover's Rock, but thematically in the same vein, Red, White and Blue expressed the quiet indignation of the oppressed.
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