Strong story, engaging characters, indelible performances, and shades of neo-noir make KNIGHT WATCHMEN worthy of a binge-watch.
There are always films and TV series that you watch and then walk away from shaking your head wondering who ponied up the money to make something that fails so miserably on so many levels. And then there are those lo budget/no budget/microbudget films and tv series that may have some flaws and might be lacking in certain production values, but there is creativity and a good story with well-developed characters and themes, and when the viewing ends your first thought is what a shame there wasn’t more money to up the ante on the project. KNIGHT WATCHMEN, the latest 6-episode series from writer/director/editor Brett William Mauser, definitely falls into the latter category. And quite honestly, after watching all six episodes of season one, I am ready for season two.
Set in the not-too-distant future described as “seven years after the second American Civil War”, with a time bump after the “prologue” another five years from that, KNIGHT WATCHMEN is the story of a revamped country, short on a legal system, crime running rampant, corrupted by corporate greed (like I said, in the “not too distant future”), and a lack of morals and ethics have fallen by the wayside; but for those of Isabella Montoya.
Short on judges, lawyers, and courts, the Republic of Texas governs itself with Texas Rangers who serve as investigator, judge, jury, and executioner. Other regions and republics have other methods of government and justice, but this is how Texas runs things and with a philosophy of an eye for an eye. Wanting to be assigned to the Border Patrol, Montoya is beyond disappointed when she is sent to Texas to serve as the “Supuesa” for one county. It seems that in her prior job in California, she only dealt with “green issues” and not traditional felonies. And she certainly never had to issue warrants for executions; executions that she inevitably would have to witness as she was required to read the charges to the perpetrator once captured.
But Montoya has some help with her duties in the form of her “Dicers” aka executioners, her nighttime Dicer and right hand Cecilia, the handsome and storied Walker, and alcoholic Carlos. Each has a past, something that is explored throughout the series, making each character tapestried and multi-textured. Each also has special skills that aid in the investigation and capture of criminals. It is also the excellent character construction that demonstrates why this little group makes the perfect team, especially when multiple murders are occurring, Montoya and her team have targets on their backs, and everything is pointing in the direction of a corporate conspiracy.
Written and Directed by Brett William Mauser, the storyline is creative and carries through the six episodes with cohesive thought. Although there is some problematic dialogue that often falls flat, the story isn’t sacrificed by that shortcoming. Written like a true detective story with all the pieces fitting together like a puzzle and parsed out among the episodes, surprising is how much more invested one becomes watching each episode play out. I say this because Episode One, “The Supuesa” starts out with a black and white “prologue” occurring seven years after the American Civil War and then jumps ahead five years when Montoya’s story begins. Believe me, I was scratching my head until about 10-15 minutes into episode one wondering what was happening. But then things started to click; slowly at first, but building up incrementally as the episodes progressed. Trust me when I say your patience will be rewarded and by the time you get to episode three, you’ll be champing at the bit to see what happens next.
Standout within the story is Mauser seamlessly melding mind control experiments, high-tech “space” technology, VR, and analog as tools at play in the story and with our characters. We get the sense of time having passed and many things from the past have survived into the present and are still functioning with money and wealth being what separates Montoya with a dial-up phone and the Donovan Corporation with its mind control and sentient robotic tech.
From a production standpoint, this is where a bigger budget could have proved beneficial. Production design is beyond limited, although Mauser, who also serves as cinematographer along with Joey Venegas Jr., tries his best using lighting and camera dutching to cover up any physical shortcomings while adding some visual interest. Episode Six is where the dutching and neon strobes all come together with visual storytelling efficiency.
Starting with Episode One there are two plot lines running concurrently which ultimately completely converge by Episode Four. With this in mind, Mauser did a fairly solid job of editing, creating a balancing act between the two plot lines and building tension at the same time – while not sacrificing character development.
Unfortunately, one problem that never gets resolved is the sound mix. Uneven in volume and tone and working with badly placed Foley effects (extremely noticeable in some poorly executed fight scenes) as well as some ADR looping that appears off, and all integrated with canned techno music, the sonic experience detracts from the excellence of the story and the performances. With Foley effects this bad, Mauser should have considered eliminating that entirely and just had score such as it was.
But the real strong suit of KNIGHT WATCHMEN is its cast. Talk about some terrific performances! And none is more terrific than that of Nicole Mattox as Montoya’s Dicer, Cecilia. Mattox steals the show. Cecilia is the heart of the film and Mattox plays her with such fun and purity. She is a joy to watch from beginning to end. A perfect contrast to Mattox’s Cecilia is Sandra Bullock’s doppleganger Daniela Vidaurre as Montoya. Stoic and strong with a seemingly unwavering moral compass which helps drive home some of the film’s thematics, Vidaurre is fascinating to watch through the series as we see the growth and development as Montoya grapples with the world of the Republic of Texas and this small group of ragtag crime-fighters she shares the spotlight with. (And yes, you will be doing countless double takes wondering if this is actually Sandra Bullock.)
I don’t know where Wesley Blake has been hiding but he is not only a leading man, but an action leading man. Get this man a major series or film leading role. As Walker, he spars exceedingly well with Vidaurre’s Montoya. Some early scenes in episodes one and two between the two of them really showcase their dynamic and may even have you thinking of a Cary Grant and Rosalind Russell verbal sparring session. Rounding out Montoya’s team is Carlos, tacitly and sensitively portrayed by Rolando Perales. Just wait until Episodes Five and Six and you may find yourself reaching for tissues thanks to Perales and his scenes with Mattox.
Not to be overlooked is the primary antagonist, Johnson, played by Christopher Henry. And a whole lotta fun comes from street crime lord, Weasel, courtesy of Michael Ochotorena who is wonderful. Most of the other supporting players who bounce in and out of episodes or are merely one-offs, are relatively unremarkable yet still add something to the mix.
With a story as strong as this and characters who are relatable and engaging and brought to life by indelible performances, it’s easy to envision how much more polished the series would have been, as well as having more attention to set design and set dress, with a bigger budget. If there is a season two, and I hope there is as we still have some unanswered questions, hopefully some production company or distributor will kick in a few sheckles to make KNIGHT WATCHMEN soar. In the meantime, KNIGHT WATCHMEN is a series well worth a binge-watch.
Written and Directed by Brett William Mauser
Cast: Nicole Mattox, Wesley Blake, Daniela Vidaurre, Rolando Perales, Christopher Henry, Michael Ochotorena
by debbie elias, 11/12/2023
KNIGHT WATCHMEN is currently streaming on TUBI and Prime Video.
