There’s nothing like mob wars to get the blood and the gun fire flowing, and even moreso when you’re talking about international gun-running, territorial mob bosses and dethroned Haitian dictators with some really angry children now denied their royal birth rite. So leave it to acclaimed martial arts action writer/director R.L. Scott to put it all together in the latest addition to his arsenal of visceral high intensity action crime thrillers with CALL ME KING.
As one may feel at times they need a score card to keep track of all the players and bullets flying, let me give you a lay of the land. Brothers Rhyis and Khalil are the sons of Knight, an ousted Haitian dictator. Because of Knight, the boys have lost their perceived birth rite to all the power and riches that the heirs to a dictatorship allow. Angry, and determined to make a name for themselves that will eventually give them all the power necessary to one day take back their rightful place in Haiti, the brothers immigrate to the United States.
Finding gun-running the most lucrative business, they form their own force called “The Strap Set.” Rhyis, being the eldest, is self-appointed leader while Khalil is in charge of sales and distribution to foreign buyers. Grimm deals with the local distributors and, of course, every group of gun-runners needs protection which is where sharp-shooter Zho comes in. Needless to say, all four men are lethal killers, skilled in all forms of weaponry, fighting and martial arts.
But even Rhyis has to climb his way to the top and sees Angela Costa, head of the Southern District Italian Costa syndicate (and pretty much the overlord of all the Districts), as his means to an end. Convincing Angelo to “hire” The Strap Set as his enforcers, Rhyis not only endears himself to Angelo, ready to defend him – and his businesses – to the death, but gains Angelo’s trust and reciprocal loyalty, thus placing himself in a power play position to oust Angelo’s son Nick from ever rising to head of the Costa syndicate.
Other power players include Feris, who runs the Western District. A former El Salvadorean drug lord turned gun runner thanks to guns proving more lucrative than drugs. Elio and Russo, stereotypical Italian no-necks, round out the group under major heavy hitters under Angelo.
Going beyond the principal wheelers and dealers are the more interesting loose cannons, starting with Li Soo. A Korean arms dealer who deals in the Eastern District working through Grimm, Li appears to get the job of guns for cash done somewhat efficiently, but often seems preoccupied thanks to the pain over the tragic death of her parents and concerns for her drug using sister. Then there’s Simone and her right hand muscle, Vincent. Simone is a force to be reckoned with by men and women. Look in the dictionary under the phrase “if looks could kill”, well, one look from Simone could mean death for you. And what about Vincent? Very large, very imposing, impeccably dressed, yet very quiet and giving the sense of civility and kindness underneath the hulking exterior.
Then there’s the wisdom and sage of Malachi. The former Minister of Defense to Knight, Malachi oversees the Northern District territories, yet he doesn’t fit the profile. Seeking refuge in the Unites States along with Khalil and Rhyis, Malachi is the voice of reason and calm, understanding the old ways of Haiti and the people while trying to steer Rhyis away from the ideas of storming the ports and retaking power as a means of returning to his homeland. And Malachi still has his ear to the ground for information and updates on Knight and Haiti itself.
And so, the game unfolds with violation and manipulation, as Rhyis executes on his plans to become first, heir to Angelo’s throne, and then his Haitian one. But a few wrinkles get in the way, leading to bloody battles and furious firefights; among them, differences of strategy between Rhyis and Khalil, Nick’s obsessive greed for what he believes is his birth rite, and an unsuspecting pawn who has been hiding in the corner, protected by another, just waiting to make his move – Knight. As the cat and mouse intensifies, it’s anybody’s guess who will be left standing to say CALL ME KING.
Out of the box, one of the biggest and most pleasant surprises in CALL ME KING comes from Bai Ling. She delivers a resonant performance as Li Soo, hitting the heavy emotional beats of familial love and concern appropriately while striking a believable balance as a gun runner. Have to say, however, her costuming appears more “Mad Max” with leather, lace and chains, but it works for Ling’s own personality.
Comes as no surprise to see Chris Mulkey lead us by the nose as Angelo. Probably best known to most younger audiences for his work as Boss Frank Hague on “Boardwalk Empire” of as Coach McGregor on “Friday Night Lights”, Mulkey brings a depth and authenticity to Angelo that is welcome and fitting. He is as believable as a hard nosed crime boss as he is a father battling a son and showing favoritism to someone not his child, walking that line of pushing the envelope and knowing when to push it over the edge to achieve a desired result. He does so beautifully here in scenes with both T.J. Hoban’s Nick and Amin Joseph’s Rhyis.
And what about Amin Joseph? Icy. Calculating. Methodical. Manipulative. Complete and utter control, never breaking a sweat. He wears the role of Rhyis well. On the flip side, Maurice Whitfield bring a lighter touch to younger brother Khalil that serves the sibling relationship and story well, bringing some balance to the dynamic.
Monyque Thompson Scott is as about as regal as they come with her performance as Simone. I was ready to say “All hail The Queen”. Unflinching, unbending (literally and figuratively), she was red hot steel. Having said that, however, the dialogue delivery was distracting with over enunciation and hesitant cadence, not to mention some lines that didn’t fit the character or feel natural, thus diminishing the power of intense moments.
Bill Cobbs can do no wrong. Once again, he is the grounding in this film. To a large degree, as Malachi he is the moral compass and serves as a generational touchstone. Perfection are Robert Miano and Johnny Williams an Elio and Russo, respectively. Each known for their work in films like “Donnie Brasco”, “Goodfellas”, “Witness to the Mob”, “Hitman’s Run” and others, Miano and Williams slip into the mafioso personas like a well worn holster.
As Knight, Shaun Mixon is riveting. Mixon elicits a tacit strength and sense of self-respect and pride through physicality, posture, refined movement. He is almost grace in motion.
R.L. Scott is no stranger to the genre meld and is quite proficient in many aspects of the cinematic construct necessary to bring a story like this to life. Structuring the story almost as if strategizing a chess game, there is thought behind each character’s move, each decision, each action and reaction. However, in an interesting twist, where the main characters move expectedly, the supporting players, the pawns, are the ones that surprise and create the most uncertainty and tension. For example, Li Soo and Vincent add these softer, unexpected moments, that cause hesitancy and give pause only to have them turn on a dime after causing someone else to let their guard down for just a second. I found this to be an unusual tact, but effective.
Problematic, however, is some of the dialogue that is beyond corny such as that by Khalil in the heat of the climactic showdown, talking about not getting his $900 iguana jacket shot up. There has been no groundwork for even attempts at levity (which I am guessing this was meant to be), and lines like this stick out like a sore thumb. Similarly, some of the dialogue is so stilted and deliberately mechanized that it feels false from beginning to end, generally with that of Simone. It takes one out of the moment and takes away from the power of her physicality and stare. But where there is perfection is with the conversational warmth whenever Bill Cobbs character, Malachi, is on screen. The dialogue fits not only the character, but Cobbs himself and his demeanor.
From the get-go you know the violence will be off the charts with action not too far behind. Scott doesn’t disappoint and provides high octane blood baths at every turn with some well done fight choreography. Kills are quick, sharp, lethal. Thrilling is some of Scott’s cinematography and FX, particularly with gunfire. Not too often that a director/cinematographer will lens scenes with the gunfire aimed directly at the camera and provide the blast visual effect. Real attention getter. Some nice wide establishing shots served not only as transitory devices but as both respites and nail-biters, making you wonder what was coming at you next. Editing could have been bit crisper with some over-extended scenes trimmed to ramp up the anticipatory tension.
Scoring is eclectic and serves the film well.
Always intrigued by calculated betrayals and manipulation of loyalties and leverages, and never one to shy away from complex story constructs, CALL ME KING had my attention from start to finish but left me feeling as if it is an heir apparent, still waiting in the wings to see what The Strap Set does to ultimately give Rhyis the right to CALL ME KING.
Written and Directed by R.L. Scott
Cast: Amin Joseph, Chris Mulkey, Bai Ling, Monyque Thompson Scott, Bill Cobbs, Maurice Whitfield, Robert Miano, Johnny Williams, T.J. Hoban
