‘Rebel Ridge’ is a Clever Thriller and Star Vehicle for Aaron Pierre
The violence in Rebel Ridge is intentionally sparse; It simmers and occasionally lets off steam until finally boiling over in an explosive conclusion. Director Jeremy Saulnier's fifth feature film is a thriller exploring the corruption underlying a small town in Louisiana and the former Marine who uncovers it. A smart screenplay and strong performance from Aaron Pierre give the Netflix release a 'must-see' status.
Viewers are thrust into the story with no preamble – Rebel Ridge opens with Terry (Aaron Pierre) biking alone in the fictional town of Shelby Springs, Louisiana, until he is hit by a cop car, and apprehended by the cops inside. Terry complies with questioning and says he's carrying 36k in cash to bail out his cousin Mike from jail. After zero investigation, the cops deem the cash as drug money and seize it. Mike is on the verge of being transferred to state prison and would be targeted by other inmates there for his role as a gangster informant. Leaving Mike in prison is not an option for Terry. His desperation to save his cousin pushes him to pursue the seizure of his money and kickstarts a slow unveiling of the machinations of local law enforcement.
The bureaucracy of state law is the grounds of Rebel Ridge, populated by characters who participate in the establishment and those who are victims of it. With those who participate, a stark division is drawn between individuals who profit from the power and those who are a smaller cog in the larger machine. "You already got [the money,] the seal is the same as the one on your office door," Terry tells courthouse clerk Elliot (Steve Zissis) when he shows up to post bail and explains his situation. “Which is the same as the watermark on my paycheck," Elliot retorts. "I am a court clerk, not a public defender."
It's the decisions that these "cogs" make that prove to be vital. One such is Summer (AnnaSophia Robb), a law student and courthouse employee who allies herself with Terry, telling him that his money was seized under civil asset forfeiture, and offering to prepare the forms in case he can prepare bail in time. She's noticed an uptick of people being held in jail for 90 days over misdemeanors, and this off-color thread leads to an eventual revelation of larger wrongdoings of the Shelby Springs Police Department, helmed by Chief Sandy Burnne (Don Johnson).
Terry's defiance when facing the police and the Chief is carefully measured. He is compliant when apprehended at the film's start, and even continues to call the Chief "sir" when first visiting the PD station and searching for an explanation. His training as a close-quarters combat expert is not deployed until the last straw when he disarms his opponents and makes clear the power he holds.
This subdued strength is emoted with ease by Aaron Pierre, who moves throughout the film with the disciplined bearing of a former Marine. Very little is revealed about Terry and it is only through Pierre’s acting and Saulnier’s selectively expositional dialogue that the audience is acquainted with him and his motivations. Pierre brings true depth to the role and if anything should be gathered from Rebel Ridge, it is his strength as both a dramatic and action lead.
Saulnier's screenplay allows his actors to play in a rich landscape and elicits excellent performances from AnnaSophia Robb and Don Johnson as well as Pierre. As demonstrated in his previous films Blue Ruin (2013) and Green Room (2015), a sharp script and immaculately choreographed action bring to life the rage of mistreated protagonists. Saulnier’s methodical pacing can drag a bit in Rebel Ridge – which boasts his longest runtime yet – especially with dialogue that is so dense with information. The payoff, however, is glorious enough to justify the buildup. The climax features a thrilling shootout, shifting allegiances, and visceral action. As a director, writer, producer, and editor of the film, Saulnier actualizes an iron grip of tension on the viewer. His creative control on Rebel Ridge is indicative of a cinematic vision that is stronger than ever, and indicative of more great features to come.
