A star-making turn by long-time, Detroit theatre warhorse Roosevelt Johnson compliments this self-produced and distributed neo-urban noir directed by noted gospel music producer Joe Smith (his second film) and his producing partner, Detroit-based actor Dejaun Ford.
As with any proceedings of noir past: it's the Shakespearian twists that keeps one guessing and keeps one watching. At first glance of the theatrical, Tubi-one-sheet: you think you're getting a horror film, as a rag-tag group battles a supernatural force (and in a way, they do, just not in the way expected). Then, when the bible verse/opening title card of Psalms 91: 1-2 appears: you believe you're getting a Christian cinema tale of redemption (and, in a way, you do, just not in the light-hearted way you expected).
Pastor James Mitchell (a solid, you-want-to-see-more James Abernathy) oversees the flock of a successful, inner city Detroit church -- but he's lost the "faith" of his two, most-important sheep: his teenaged daughter and son. The street-sassy Tameka (Martina Motley in a fine, leading-lady debut) has taken up a life of crime with her hard-nosed lesbian lover, RIP (an engaging, cinéma-vérité-styled acting turn by J Loud). Chris (a good Bryson Steen), envious of his sister Tameka's new-found freedom, quickly follows in her criminal footsteps -- just as RIP (along with her crew of Malik Frazier, as Trey, and Dejuan Ford, as Martrez) decides to raise the stakes from their usual carjackings -- to more lucrative home invasions. Their first target is the well-off, kindly and charismatic gentleman of the neighborhood, the God-loving Mr. Gilmore (again, the mesmerizing Roosevelt Johnson) -- who is not the "old man" he seems to be.
Unlike most indie-streamers galloping Tubi's low-budget tundras suffering cinematography faux pas, Thomas Pawlowski keeps the story professionally-framed and image-sharp: all of the pick-ups, coverage and reverses you expect in a major-studio picture -- ones usually lacking from indie streamers, are here. Courtesy of editors Doug Jezak and Charles Spudd Spence, "Dance with the Devil" sticks to the story with an appreciated, tight running-time of 73-minutes that keeps the proceeding constantly moving, as an unknown -- but far from unskilled cast -- keeps the viewer engaged until the film's shocking, Tarantinoesque downshifting conclusion.
Here's to hoping casting directors and show runners see "Dance with the Devil" and place calls to Roosevelt Johnson, James Abernathy and J Loud: they are oh-so-ready for guest-starring turns on a major network and cable-streaming dramas.
As with any proceedings of noir past: it's the Shakespearian twists that keeps one guessing and keeps one watching. At first glance of the theatrical, Tubi-one-sheet: you think you're getting a horror film, as a rag-tag group battles a supernatural force (and in a way, they do, just not in the way expected). Then, when the bible verse/opening title card of Psalms 91: 1-2 appears: you believe you're getting a Christian cinema tale of redemption (and, in a way, you do, just not in the light-hearted way you expected).
Pastor James Mitchell (a solid, you-want-to-see-more James Abernathy) oversees the flock of a successful, inner city Detroit church -- but he's lost the "faith" of his two, most-important sheep: his teenaged daughter and son. The street-sassy Tameka (Martina Motley in a fine, leading-lady debut) has taken up a life of crime with her hard-nosed lesbian lover, RIP (an engaging, cinéma-vérité-styled acting turn by J Loud). Chris (a good Bryson Steen), envious of his sister Tameka's new-found freedom, quickly follows in her criminal footsteps -- just as RIP (along with her crew of Malik Frazier, as Trey, and Dejuan Ford, as Martrez) decides to raise the stakes from their usual carjackings -- to more lucrative home invasions. Their first target is the well-off, kindly and charismatic gentleman of the neighborhood, the God-loving Mr. Gilmore (again, the mesmerizing Roosevelt Johnson) -- who is not the "old man" he seems to be.
Unlike most indie-streamers galloping Tubi's low-budget tundras suffering cinematography faux pas, Thomas Pawlowski keeps the story professionally-framed and image-sharp: all of the pick-ups, coverage and reverses you expect in a major-studio picture -- ones usually lacking from indie streamers, are here. Courtesy of editors Doug Jezak and Charles Spudd Spence, "Dance with the Devil" sticks to the story with an appreciated, tight running-time of 73-minutes that keeps the proceeding constantly moving, as an unknown -- but far from unskilled cast -- keeps the viewer engaged until the film's shocking, Tarantinoesque downshifting conclusion.
Here's to hoping casting directors and show runners see "Dance with the Devil" and place calls to Roosevelt Johnson, James Abernathy and J Loud: they are oh-so-ready for guest-starring turns on a major network and cable-streaming dramas.
