A tour de force by writer/director/actor John Mossman, with a well-written script flawlessly executed with nuance and grace. It so refreshing to witness a clear filmmaking vision realized with refined skill across the board. Well paced, impeccably acted, with ambitious action sequences that delivered in ways rarely seen in independent film. Every Chekhovian gun hung on the figurative wall of narrative was shot at the perfect time. The suspense steadily built, masterfully delivered by compelling performances. Every character was clearly delineated with heart and grit, providing balance and relief to a film that could have been overly dark in less capable hands.
There are no lazy caricatures of characterization in writing, direction, or performance; Mossman clearly understood his challenging subject from all angles. The teen performers are flawless, and they are going places. The parents are the heart and soul, strong and sympathetic. While the whole ensemble is top-notch, antagonists John Mossman and John LaFlamboy are standouts, delivering masterclass performances in stillness and intimidation. Truly star-making performances.
Beyond the top-notch writing and acting, which is rare enough at the indie level, the cinematography is a gem, composed beautifully with luscious saturation and deep lighting. Sound and editing was seamless, which I deeply appreciate as an editor myself.
The detail I find most often overlooked in indie film is the score. As someone who's been passionate about film scoring since childhood and listens to this music genre primarily, it frustrates me when 90% of indie filmmakers seem to have no vision for their music or understanding of its vital importance and narrative power. They throw in random canned tracks with poor, cheap instrumentation and edit them with no sense of organic emotional flow or visual timing, thus hurting rather helping their narrative. It's the invisible element that cheapens the entire product and breaks my suspension of disbelief time after time, even in Hollywood movies (don't get me started on "Predator.") There is so much magic and power in coupling a quality film with a quality score, and the opportunity is often squandered.
I can't imagine a better suited score than what composer Petter Wahlback delivered. It never detracted from the scene and never distracted by drawing attention to itself. It served its story perfectly and seamlessly, like it's supposed to. And it wasn't overused. Where less experienced composers and directors would have "told" the audience how to feel in pivotal scenes, like an annoying family member delivering commentary beside you in the theatre (me, guilty as charged), Wahlback and Mossman often chose silence and realism, allowing the character and thus the audience to decide our feelings for ourselves, never manipulating or forcing emotions as less skilled filmmakers might have. They trusted their audience and their own impressive abilities.
With multi-dimensional characters and skilled storytelling firmly in the foreground, "Good Guy With a Gun" handles its subject thoughtfully, with grace and empathic humanity. I feel the filmmaker chose to tell a family's nuanced, personal story rather than heavy-handedly preach a political message or demonize whole groups of people. This is a rare gem that filmmakers should study and I hope audiences discover. Give it a watch!
