‘Good Guy With a Gun' (2022) Review
The way in which the landscape of rural America is shot to be both foreboding and comforting—a contrast with which Mossman’s film is founded upon—largely contributes to the emotional components and nuanced performances within.
★★★½
Drama, Thriller (109 minutes)
dir. John Mossman
Starring: Beck Nolan, Tiffany Bedwell, Jack Cain, Ian Barford
“A coming of age action thriller following a boy and his mother’s arrival into a small town as their fractured relationship is widened by his deepening journey into gun culture, followed by his desperate efforts to reverse course when he discovers the dangerous direction he is headed.”
— Official Synopsis
Chicago-based writer and director John Mossman explores the complicated topics of radicalization and gun violence in his latest film, Good Guy With a Gun. This wasn’t an easy feat as it seems that gun violence in America shows no signs of slowing down with the latest mass shootings at Club Q and the Chesapeake Walmart incident a couple weeks ago. How we choose to cover these acts of mass violence informs how the public responds to the issue of gun reform. Media, certainly, plays a significant role in the discussion around topical issues—with the extension of visual media included. I was very skeptical to even cover this film for the simple fact that extreme polarization can hurt the progress we make towards creating a safer environment in our cities and towns, especially for those who are already targets of extreme hate and prejudice. And even as I write this, I am conflicted on the best way to approach the subject matter of Good Guy With a Gun; it’s complicated. So first, here’s a snippet from Mossman’s statement on the film:
Families have always had their challenges…A type of jet fuel being added to this fire is the emotionally charged issue of guns, which combined with stoked elements of masculinity, fear and frustration, has created an explosive new cocktail pouring through the veins of our nation; one that unfortunately shows no sign of abating as we witness the continued radicalization of young men and the polarizing nature of the gun debate. Despite the blowback they might face, many responsible gun owners are ready to acknowledge the sickness of gun worship and the fallacy of the apocalyptic "good guy with a gun" world-view that has gained so much traction of late.
Indeed, it’s important to acknowledge the simple truth in that America can’t get enough of the endless gun violence—in part because there’s an exacerbation of gun obsession in the United States, even down to our casual day-to-day language. The toxicity spewing from the likes of Twitter, YouTube, and far right extremist platforms alludes to a clear moral deterioration in civility and kindness for one another. But simply recognizing each of the aforementioned problems found in modern culture will never be enough to affect substantial change. That being said, I do believe in the civic nature of discussion and collaboration between media, filmmakers, activists, and government to formulate solutions on the congressional level to address important issues facing Americans today. If Mossman’s film can contribute to the ongoing national conversation, without rhetorically harming marginalized communities, it’s worth covering; thankfully, there is enough substantive material to do just that. Albeit, there are moments where a more subtle touch of storytelling would have benefitted the messaging surrounding the film. There are plenty of key moments in the script that are beautifully constructed, showing the evolution of both the story and characters—but scattered among the page are a few prickly lines that could have been trimmed.
Overtly, Good Guy With a Gun follows our main protagonist, Will (Beck Nolan), down the slippery path of radicalization. Sub-textually, however, it’s an exploration of a fractured relationship between a mother and her son and the factors that make for a bleak reality for those in low-middle class America. Will and his mother, Tessa (Tiffany Bedwell), travel from their home in Chicago to a small town nearby when a death in the family uproots their lives. Both Bedwell and Nolan demonstrate their wide range as actors within the material, with chemistry that can be felt during the emotional climax and more intimate moments. Another notable standout is Jack Cain as Jonah, who captures a young spirit who has been born in a place that can never fully accept him. Jonah befriends Will the moment he arrives in town, proving to be the only safe place for Will to express his authentic self—and who Jonah ultimately confides in; this relationship, in particular, captured beautifully and with the subtlety that I wish presided over the whole film (particularly in a subplot surrounding Dan Waller’s character, Duke).
Though, Good Guy With a Gun does canvas fundamental characteristics for some of the others, as well (Ian Barford, Joe Swanberg, Elizabeth Laidlaw, and Liv Shine), it falls short of giving some of the younger characters more to do outside of the shooting range. Perhaps, the film would have benefitted from more sequences like those around the firepit and in the bed of Duke’s truck between Jonah, Will, and Donelle. However, Christopher Lane’s work behind the camera allows for heightened emotional turmoil in the more thrilling sequences only to then transition to a warm, touching atmosphere when dialing down. It’s a delicate mix that can’t often be capitalized when dealing with sensitive material such as this. The way in which the landscape of rural America is shot to be both foreboding and comforting—a contrast with which Mossman’s film is founded upon—largely contributes to the emotional components and nuanced performances within. When I think about Good Guy With a Gun, it’s Lane’s cinematography and Claire Simon’s casting that make the film worth viewing.
Good Guy With a Gun had its world premiere on Friday night at the Dances With Film Festival in New York at Regal Union Square.
