In writer-director Phil Blattenberger’s newest film “Laws of Man,” ambition surpasses technical prowess. Attempting to craft a noirish retro thriller, the film's complex plot eventually falls flat, missing the necessary action and atmosphere. Placed in 1963, an unexpected narrative jump suggests inspiration similar to Cold War paranoia films like “Dr. Strangelove” and “Winter Kills.” However, the lack of satirical sharpness makes it a peculiar viewing that is less engaging than it should be. The film was released to U.S. theaters, digital, and On Demand platforms on Jan. 10.
The story is set in Carson City, where U.S. marshals Frank (Jacob Keohane) and Tommy (Jackson Rathbone) travel into the Nevada desert to detain Crash Mooncalf (Richard Brake) and his criminal group. A gunfight takes place, reflecting the differing approaches of the two officers. Frank, a WWII veteran struggling with PTSD, operates strictly by the rules, while Tommy, a young trigger-happy “cowboy,” disregards them.
The plot thickens with the involvement of area rancher Benjamin Bonney (Dermot Mulroney), who is suspected of killing those who refuse to sell him their land. The marshals, despite being told that their warrant has been cancelled, decide to persist, leading them to a conspiracy designed to protect the guilty. Later, fringe characters like an ex-Korean War FBI agent (Christopher El), his direct superior (Keith Carradine), and a foreign scientist (Chase Gutzmore) are introduced.
Despite featuring stellar names in the industry, these actors appear to not take their roles seriously, further harming the film's credibility. Additionally, the film's amateur performers struggle to maintain a serious demeanor amidst stilted dialogue and highly implausible scenarios.
In addition to struggles with character development, “Laws of Man” fails to successfully represent the period in which it is set. Several distracting elements undermine the film's credibility. The static script and the lack of engaging humor leave the audience disconcerted, a sentiment that's only exasperated by the film's lack of stylistic or ironic elements in design contributions. Ultimately, although “Laws of Man” attempts to offer a surprising end, the journey to get there is clunky and fails to satisfactorily bring the plot to fruition.
