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Title: American Son (2019)
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| Complete credited cast: | |||
| Kerry Washington | ... | Kendra | |
| Steven Pasquale | ... | Scott Connor | |
| Jeremy Jordan | ... | Paul Larkin | |
| Eugene Lee | ... | Lt. John Stokes | |
Frantic with worry, Kendra Ellis-Connor (Kerry Washington) paces the waiting area of a Miami police station. Her 18-year-old son Jamal, a top student about to enter West Point, went out with friends early in the evening and, uncharacteristically, has neither returned nor contacted her. As she waits for her estranged husband Scott (Steven Pasquale), Kendra is interviewed by Officer Paul Larkin (Jeremy Jordan), who assures her that his questions about whether Jamal has priors, a street name, or gold teeth are strictly protocol and not racist. Larkin suddenly discloses new details regarding Jamal's whereabouts when Scott arrives, not initially realizing that this white FBI agent is Jamal's father. As the three hash it out in the otherwise deserted waiting area, urgent questions arise concerning the degree to which race, gender, and class play into police procedure. Written by Toronto International Film Festival
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What do we make of a movie that has love it or hate it reviews? Possibly reviewers are judging two different aspects: content and portrayal. American Son raises many important issues that society is struggling with. And the film does show that these issues are not as clear-cut as we might think. It encourages the viewer to see the other person's perspective. If these elements of the film were instead those of an article or a non-fiction book, they would be top-notch.
But this is a film, one adapted from a play. And as a film, it languishes beneath its interesting premise. The most glaring fault lies in the conversation between the parents. Although they were married for many years, they now speak about race issues as if the topic was something new. Is the viewer meant to believe that a biracial couple never explored their views of racial relations? They do not have a credible conversation, but instead make statements for the benefit of the viewer. Rather than believable character dialogue, we get parallel monologues. It is of no surprise, then, that the writer uses amateur contrivances such as that used to bring up the shameful history of segregated water fountains. 'Can I get you anything?' 'Water' 'There's a water fountain down the hall, well actually there are two...' And so on. Such clumsy attempts to invite a soapbox moment is just bad film. Indeed the bulk of the screenplay is replete with such contrived moments. It is the type of faux pas made by Creative Writing students. If it were a fluffy action movie, it could get by with inconsistent, superficial stock characters--the viewer would still enjoy the exciting car chases. But this is meant to be serious drama. It is not the acting that is the problem, but the writing. Sadly, a missed opportunity to prompt a meaningful discussion on the issues it reduces to cliché.