Jeremy Saulnier’s Rebel Ridge is arguably one of the year's bravest films not just for its content but for how, for the most part, it avoids the pleasures one might typically expect from this genre. We are in the Stallone-meets-Western zone, and with the protagonist (Aaron Pierre’s Terry Richmond) being an ex-Marine well-versed in combat, there is immense potential for a Rambo-like one-versus-many actioner. To his credit, however, Saulnier keeps Terry as the victim and not the saviour except for brief moments. Terry might be way stronger and smarter than the people who are ill-treating him, but he is still a common man, a black man in a predominantly white village. Even the extras in a courthouse scene are white, showing the sheer claustrophobia someone in Terry’s place could feel. Terry’s outrage is, for the most part, simmering rather than explosive. He is patient and restrained, and it is almost enraging to watch his stand-off scenes with the corrupt police chief (Don Johnson), who keeps triggering him (it's hard not to think about the Black Lives Matter movement while watching Rebel Ridge). Pierre delivers a well-realised performance that brings out the exasperation of getting stuck in a hopeless system.

Hopelessness is a constant undertone here, and the theme of ‘unfair treatment’ reverberates throughout the plot. It is not just Terry who is a victim of corruption and loopholes in the legal system. AnnaSophia Robb’s Summer, a struggling court employee who takes pity on Terry, deals with her own systemic issues. Zsane Jhe plays a black police officer, and her character gets several great moments where she seems to sympathise with Terry but is also on the other side of the proceedings. Jhe’s performance, like the rest of the cast, is perfectly measured.

The only gripe in this otherwise meticulous film is the half-baked handling of Terry’s relationship with his cousin. The relationship is how the plot kicks off, but we barely get to know what these two mean to each other. This creates a sense of distance to Terry’s plight, making some of the emotional scenes rather distant. The idea might have been to create an overall cold atmosphere, but had there been a few scenes where we understand the love Terry has for his cousin, it might have helped make things more impactful.

There is a constant sense of unease and worry about Terry getting into more troubling situations. We keep wishing he would finish off his oppressors and leave the place. David Gallego’s cinematography plays a big role in creating suspense, with the camera often slowly moving and carefully revealing the action. 

Rebel Ridge feels refreshing at a time when films are becoming increasingly focussed on creating high points. Even the big action scenes are understated: Why linger on violence when there are greater horrors happening? The writing is clean and calculated, and the film demands your attention. Apart from a few one-liners, the treatment is dead serious. And the ending makes us think: While the day might be saved, what about the country?