Petite Dixie

I'm not sure what writer, director and producer John Swab was thinking trying to knock-off a bunch of "already done and much better films". Although flawed, I still enjoyed two of Swab's previous films, Body Brokers and Candy Land, because they had what this film severely lacked, originality.

Filmmakers are supposed to get better at their craft, not worse, and this over-indulgent cliched nonsense is a slap to Frank Grillo, who deserves much better than this. Grillo was stellar at his lead role in Boss Level, and deserves lead roles in great films, not this nonsense.

Swab decided to add every cliche with lots of filler and very little substance within his cringeworthy sub-plots, that took away from the story instead of adding to it. I admired Swab's style in Candy Land, but in this one, his writing and directing was lazy and rushed.

The first two acts were suspenseful, intriguing, and had great flow and continuity, but as soon as the third act started - at the drag queen karaoke bar, it went off the rails. It was just all plot holes and nonsense, that lost all credibility with its lack of creativity and originality.

It's too bad, because the cinematography was excellent, as was the score, and all casting and performances were on point. But all that isn't enough to say the slowly paced 105 min runtime was an engaging and entertaining ride throughout the entire film, only the first two-thirds of it. So it's only a 5/10 from me, but could've easily been a 7 or 8 had that third act been better.

I would liken this film to a John Wick light movie. If you like that kind of plot, then it works. If you want character development, believability, incredible acting and some deep meaning then don't watch it.

If you like a well paced action movie with a high kill count and a decent plot that sticks to it then you will enjoy this movie.

It's made in a B movie vein where the score and kills and things like that are basic. It's entertaining and again if you like seeing bad guys get taken out at a high volume and some decent acting then you'll enjoy this movie.

Overall it's just a B action movie with a high kill count and some pretty good cinematography. So I enjoyed it as a light viewing experience. 6/10.

I'm not sure what some of the reviewers here are smoking, but this film is a typical example of why you can't always trust people to pass fair comment. Yes, there are some films that understandably create a palpable divide in opinion, but I don't think this is one of them.

Its a pretty solid thriller, action movie that I really enjoyed. True, the plot is not particularly original... more of a variation on a well worn theme, but the execution and production are pretty solid, and the performances are well delivered and worth some merit. Ok it's not going to be winning any Oscars, but as an entertainment action piece it holds its ground as well as any worth of the 7/10 I've awarded it.

Grillo is pretty gritty here, reminiscent of Mel Gibson's performance in "Parker" and does a great job with the material. Once again he's shown capability outside his more familiar casting type. Direction, pacing, screenplay... all round respectable and well... as I've said Solid. Not much to dissect here to be honest, so no point in giving a long winding review and labour the points I've already made.

Anyway, glad I watched it, and if this review helps you give it a fair shake and a watch, so be it. I just don't get reviewers with an axe to grind that help no one.

I reckon Eric Dane might wish he had stayed on his last ship after his stint as Governor of Oklahoma here ends rather more abruptly than he might have expected at the hustings. He cannot resist a good old gloat when his administration sends the brother of a Mexican drug lord to the chair. The uneasy truce that has existed thus far is now ended, and his assistant "Billie" (Annabeth Gish) and her fixer - and his wartime CO - "Doc" (Frank Grillo) have tightropes to walk whilst "Miguel" (Maurice Compte) decides how best to exact revenge. That involves his sexually ambiguous and brutal brother "Cuco" (Beau Knapp) who decides, quite cleverly, that he will kidnap the daughter of "Doc" and force him to do their dirty work for them... What now ensues is just poor, sorry. It's like a video-shoot 'em up game with bodies falling all over the place and little if any jeopardy until the last few minutes when, even then, the ending has precious little by way of surprise. The plot itself is pretty preposterous and the acting does little to inject any real sense of menace to this procedural, repetitive and over-long training video for would-be ten year old assassins. I wouldn't bother if I were you.

Little Dixie (2023) is disappointing on several levels.

As an action movie fan, I'm generally willing to watch any film starring Frank Grillo, Michael Jai White, or Scott Adkins - three actors who are capable martial artists and credible actors, but who have generally been limited to low-budget films and minor roles in major productions. My favorite Grillo film is Boss Level.

Little Dixie is my least favorite Grillo film. It's a low-budget production. There are no car chases, pyrotechnics, elaborate CGI, or large crowd scenes, but production values are adequate to its modest ambitions. There are a few gaping holes in the plot, which can be ignored if one is willing to sit back and enjoy the ride. However, the script is weak. Much of the plot is predictable. Some characters are duplicitous, but largely one-dimensional with no appreciable character arcs. Dialogue is a bit on the nose and heavy on exposition.

Grillo's Doc is not a sympathetic character. He's some sort of facilitator who works with a Mexican drug cartel and corrupt U. S. politicians, but we don't see this work. He transforms effortlessly into a ruthless, coldly efficient, unstoppable killing machine, but we never see what Blake Snyder calls a save-the-cat scene, other than a symbolic action on a pier near the end of the film. In Assassins, Stallone's Rath grants a victim's request. The assassin in Babylon allows one of his assigned targets to flee the country. In Inglourious Basterds, Waltz's Landa allows Shosanna to escape. Doc doesn't have a moment of kindness. To the contrary, he seems unaffected by the extensive collateral damage he causes.

There is no love story, only Doc's affection for his daughter Nell, but there seems to be little genuine chemistry between the actors. Nell isn't an interesting character and her only potentially interesting action is off-screen.

Chekhov wrote, "If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off." Doc purchases several firearms which he never seems to use, although he does use the item that is given special significance.

A huge distraction in many recent films has been the filmmakers' insistence on wearing their wokeness on their sleeves, usually to the detriment of the film. This is particularly incongruous in actions films which are typically far removed from woke ideology, and often feature concealed automatic weapons, enhanced interrogation techniques, extrajudicial executions, illegal wiretaps, facial recognition, muscle cars, private jets, and other politically-incorrect environmentally-hostile elements.

Little Dixie inserts several woke elements which seem so awkward and incongruous that one wonders if the filmmakers weren't deliberately or subconsciously railing against woke mandates.

Genre fans would expect Doc's ex-wife to be a matureBond girl, or perhaps a duplicitous femme fatale, like the dental hygienist in Boss Level. That the filmmakers would try to fill their diversity quota by casting a black actress is not surprising, but instead of a Thandiwe Newton or Zoe Saldana, they cast a shrewish soccer mom who doesn't look the least bit like the daughter and has no positive energy with Doc.

Rather than the typical strip-club scene, we have a scene at a gay bar featuring a singing competition among cross-dressing contestants, which devolves into a truly cringeworthy bedroom scene that ends predictably badly.

A minor character is a lesbian, while two others seem to be homosexual males for no particular reason, other than diversity. As the villains are Mexican drug dealers, there are numerous Latinos. But Asians seem conspicuously absent.

There are only a couple of brief martial arts scenes. Doc is supposedly some sort of manipulator who masterminded a huge smuggling operation. But we don't see him planning, negotiating, using the skills he supposedly has. Instead, he is a very blunt instrument. Against the backdrop of a modest production, the woke virtue signaling is especially distracting.