Red State, 2011.
Directed by Kevin Smith.
Starring Kyle Gallner, Michael Angarano, Michael Parks, Melissa Leo, John Goodman and Stephen Root.
SYNOPSIS:
Three boys (Michael Angarano, Kyle Gallner and Nicholas Braun) get more than they bargained when they answer a sex ad that leaves them drugged hostages of the Five Points Church, led by charismatic preacher Abin Cooper (Michael Parks). When the situation escalates into a standoff between ATF Agent Joseph Keenan (John Goodman) and the fanatical religious clan, violence inevitably erupts.
Maybe it was Cop Out, or the low-grossing, critically battered Zack and Miri Make a Porno. Perhaps we’d have to go back as far as Jersey Girl to see when the gears started turning in Kevin Smith’s head – whatever the catalyst, Red State represents a key departure for the irrevocably candid self-described slacker. Smith and now Lionsgate have sold it as a horror film, a description that fits the film just as well as the fish-out-of-water gangster flick did In Bruges. This is a gritty production that features no elements of traditional horror and is steeped in a dialogue that retains Smith’s particular charm. With Michael Parks delivering a magnetic performance as a pastor of a very dedicated flock, Smith has fashioned a film that feels occasionally risky but is let down by an inability to commit to a sustained pace that robs the violent second act of any palpable tension.
Shot on a $4 million budget, Red State has flustered and angered a variety of critics and fanboys since its very inception. Now that it’s finally available to be viewed at will, the first watch brings to mind a question – what was all the hubbub about? Surely it’s a testy film, depicting a cultish clan that rejects modern-day values in favor of the Bible – the problem is, through the lens of Cooper (Parks), the only thing the Five Points Church extricated from the pages of that hallowed book is fear. Fear is the answer to their prayers and the centerpiece of the film is undoubtedly a nearly 15 minute sermon delivered by Parks. It almost feels like real time passes and if Smith had wanted to go all the way, he might’ve shot it in one take – Parks certainly seems capable as a man whose personal morals may be revolting, but whose instincts as a natural salesman are impeccable.
Impressive as that sermon may be, it is more notable for the fact that it appears than its actual content – it does become long-winded toward the middle and grinds the film to a halt. The fate of the boys bound as hostages, and soon to be subjected to a worse fate, is shoved aside for some in-depth preaching. I understand the impulse to drive home the congregation’s beliefs but I’m baffled that it takes so long. By the time Goodman’s ATF agent shows up on the scene, backed up by some serious firepower and a wise-cracking partner (Kevin Pollak), we’ve already resigned ourselves that no one is going to come out of this film clean, and possibly alive for that matter. What’s left is a second act that despite massive firepower unleashed from both sides feels as an afterthought, since you are resigned to passively watching the clan’s numbers whittle.
As for the boys, their plot ties into the firefight but feels largely secondary, which is odd since we’d spent enough time with them during a well-paced opening to care. Also odd is a sheriff (Stephen Root) who’s given plenty of baggage but never seems to account for more than a nuisance to Goodman’s morally conflicted flunky. I will commit to saying that I’ve never seen John Goodman give a bad performance and this film doesn’t break that streak. As Keenan, he’s a more developed character that even Cooper and watching him bark back at his supervisors amidst the firefight is involving – not as involving as the space allotted to Keenan in the final act, where he relates a story from his youth that effectively underlines what it is that Kevin Smith is trying to say.
Some critics have lambasted the third act for backing down from a conclusion that seems forgone halfway through the film – I thought it was an unusual and unique ending and the epilogue with Goodman is only icing on the cake. Now that we’ve heard Smith talk about the original ending (see here), it’s understandable how a rewrite forced his hand to adjust for something more acceptable given the budget, but I am surprised he’s come with something so strange and memorable. Which is to say Red State does coast on a strong ending despite a muddled message that is sure to be debated (or not, maybe I’m just lost as to what Kevin Smith is saying). That said, the film is a curio, a must-see for fans of the director and a strong recommendation for cinephiles. It won’t make a rainy Saturday night considerably better but at the very least you can argue with your friends afterwards.
For more on Red State, check out my podcast It’s No Timecop! Episode 4 – now on Itunes!
Mark Zhuravsky is a prolific writer and podcaster, and a dedicated editor.
