VENGEANCE (2022) – Review

As Summer begins its transformation into Fall, the studios are still offering virtual getaways at the local multiplex. This newest “travel tale’ also combines the popular theme of the “fish out of water” with a protagonist in very unfamiliar surroundings. Now, the movie marketing folks are hitting this aspect hard in the trailers and TV spots, making it appear to be an edgy modern spin on the cult fave TV sitcom “Green Acres” where a “city feller'” was flummoxed by the simple “country folk” (who often got the better of him). Oh but don’t be misled. There’s a lot more going on in this film since it comes from one of the busiest creative minds in the media today. And he stars in it, as an intellectual who’s never really felt a burning desire for VENGEANCE.

The story’s cerebral center is Ben Manalowitz (B.J. Novak), a writer/podcast journalist living in the Big Apple. Actually, the film’s opening sequence is far from NYC as we watch a young woman frantically texting on her cell phone as she crawls past several oil derricks on a remote dusty hill. But back to Ben. That same night, his unexpected “booty call” is interrupted by an early morning “unknown” caller. The distraught voice tells Ben that his “girlfriend” Abeline is dead and pleads with him to attend her funeral. The fact that Ben doesn’t recall her indeed complicates things even further. And he really doesn’t want to travel all the way to Texas. Oh, but this could end his “writer’s block”. Ben contacts his editor at the podcast communication company, Eloise (Issa Rae), and sells her on the idea of making his “journey” into an audio series highlighting the divide in the nation. She agrees to ship him the recording equipment. After several connecting flights Ben meets the “caller” at the airport: Abeline’s still distraught brother Ty Shaw (Boyd Holbrook), who drives him straight to the memorial. The photos of him with the “dearly departed” jog Ben’s memory. They “hooked up” a few times over the last couple of years, but she told everyone that he was her long-distance beau. Soon Ben meets the family who insists he stay at the Shaw house (and he can take Abeline’s room). At dinner, Ty tells Ben that they will track down those drug dealers responsible for his sister’s overdose death (“She never even took an Advil!”). But can the meek Manhatten writer really join Ty on his quest for vengeance?

In the lead role, Novak confidently hits all the required emotional ‘marks”. In the opening scenes he’s required to almost be the “straight man” to many of the “great unwashed” he encounters on his travels. But Ben subtly shifts, his journalistic curiosity “kicks in” and he’s a determined seeker of truth, even as he’s out of his element amidst the escalating violence. Though mainly known as a “master of snark”, Novak makes a compelling though unlikely screen hero. Also drawing us in is Ashton Kutcher as a most engaging and enigmatic ‘suspect”, Quentin Sellers, the smart and shady owner of the recording studio where Abilene Shaw pursued her dreams of performing. In their “interrogations” Quentin bobs and weaves like a fighter, never allowing Ben to “land a punch”. And Kutcher’s “trash-stash” just oozes evil. More straightforward is Holbrook as Ty, whose bravado masks his crippling grief, with a swaggering “good ole’ boy” way of seeking justice. And though he adds to the humor with his ignorance, he’s a protective partner to Ben. J-Smith-Cameron brings a lot of grit to her role as the wounded family matriarch Sharon, who opens her heart to Ben without revealing everything. Her mother, played by Louanne Stephens, is rougher ‘around the edges” as she tosses off bits of unfiltered wisdom to Ben. Lio Tipton is a sad specter as Abilene, who is haunting in the images and videos that inspire Ben. Ms. Rae makes for a great emotional and professional anchor for Novack as the boss who slowly begins to care about him more than the story. Kudos also to Dove Cameron as the kid sister who, like many of her age, only desires to be famous, no matter the reason.

And Mr. Novak does the “hat trick’ by also writing and directing this, his first feature film (after lots of TV work, most notably the US version of “The Office”). As with his acting work, director Novack “switches gears” going from boozy NYC nightlife to the eerie desolation of dusty Texas (actually New Mexico doubling here)., with the churning oil derricks belching fire into the dark night sky, giving it a Hellish glow. The humorous scenes are never overplayed with quick close-ups or choppy editing, allowing the tossed-off retorts to sneak in and build. But as the story progresses it begins to take on the tempo of the classic film noir, with Ben as the gumshoe that’s not intimidated by the boisterous “packing” yahoos. Unfortunately, the film’s final act becomes a bit too “talky” with characters delivering long soliloquies, hammering in a sometimes clever, sometimes obvious commentary on the current state of America. But the final denouncement should inspire some thought about the resolution and how it would affect the protagonists. So, though it’s not what the marketers are selling, VENGEANCE gives viewers more to ponder than the usual “city slicker” farces.

2.5 Out of 4

VENGEANCE is now playing in select theatres