Blue Caprice (2013)

AKA The Washington Snipers
Director: D Alexander Moors
Isaiah Washington, Tequan Richmond, Rim Blake Nelson. USA. 1h 34m

A deeply atmospheric and emotive recount of the strange relationship between the unique pair of individuals who basically brought Washington to its knees in 2002. John (Washington)and his “adopted” Antigen son Lee (Richmond), are brought together out of love and necessity, but soon their turbulent relationship became needed and cold violence. A highly provocative insight into the killers from D Alexandre Moors, his first full length feature, shows incredible talent. Later on he was able to display further capabilities is his more appreciated project Yellow Birds (2017).

John is a highly strung individual, moving from sofa to sofa, from friend to favour as he rages at the world around him, hooking up with a protective friend he manages to tutor his new son in a military fashion, their daily lives are a mix of regimental and relaxing with friends, cook outs and sniper training.

Somehow Moors manages to really emphasis a huge lavish world around the torrid pair, the scenery is always lush and vibrant as young Lee is being instructed in driving and shooting, often against his own will, the dedication to his new father figure overtakes the wills of a young teen, there’s one scene where he settles down to a game of Doom (correct me if I’m wrong) and a joint, but snaps out of this relaxed space and is soon in the back of the Blue Caprice.

The film is named after this kill car, it’s a unique vehicle, modified by these two demented individuals to kill anonymously. It’s such a pivotal part of their dangerous game and slowly takes centre stage in one of the most harrowing acts of the movie. All of the kills are collated into one bloody killing journey across america montage, it’s dark and chilling but so well controlled. Moors, manages to show this forever moving death car through all weather spliced in with each kill, it’s disturbing and not easy to shake.

So much credit has to go to Moors for refusing to sensationalise his movie, a humane portrayal of people who are often dismissed as monsters; or their kill spree, at no point is there any interest in why or how these men killed, the lack of exploiting and fetishizing those acts makes a tired genre incredible fresh again. Instead, it explores their humanity-which is revealed to be even more terrifying, this stretch to dig deeper is much more rewarding.

Rating 6/10

R: Gosnell (2018), Monster (2003),

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