Although actor Anthony Mackie finds himself in the spotlight from time to time — such as when he ended up onstage at the Oscars with his “Hurt Locker” co-stars during March’s best-picture presentation — he doesn’t seem to seek it.
He’s just fine taking quieter, less-flashy roles in quieter, less-flashy films. They’re the kinds of roles that fly under the mainstream radar but still showcase the New Orleans native’s acting chops.
“Night Catches Us” is such a film. It represents the rare lead role for Mackie, and he seizes the opportunity, convincingly playing the part of a soft-spoken former Black Panther named Marcus who, after a four-year absence, returns to his hometown of Philadelphia amid the racial turmoil of 1976.
It’s not immediately clear why Marcus moved away in the first place, but we know this much: As he returns to attend his father’s funeral, he’s not particularly welcomed, not by his old running partners (who derisively call him “Snitch”), not even by his own brother.
Regardless, Marcus apparently harbors hopes of renewing his relationship with fellow former radical Patty (Kerry Washington).
Marcus and Patty have mellowed since he bolted Philly; she has even become a lawyer, joining the system they used to fight back in the day. But try as they might to move on, their shared past refuses to stay buried, as an angry young neighborhood kid (Amari Cheatom) and his anti-police sentiments dredge it all back up again.
Also dredged up: The secret tucked away in the black duffel Marcus carries slung over his shoulder, a secret that first-time director Tanya Hamilton unravels slowly for her audience. Her arrival is the real story.
She’s earned a nomination in the Independent Spirit Awards’ best first feature category, and it’s a well-deserved honor. In addition to directing, she wrote the screenplay for “Night Catches Us,” and she proves to be a surprisingly mature, patient filmmaker.
Unfortunately, the audiences for “Night Catches Us” will have to be patient, too. Although it boasts deftly drawn characters and establishes a believable period vibe despite its limited budget (including a funktastic ’70s score by the Roots), it’s a talky film, one that consistently favors dialogue over action. Aside from a few moments of elevated emotion, Hamilton is happy to let it simply simmer.
If there’s a flaw in her film, it’s that she misjudges exactly how much simmering she can get away with, as her story proceeds in fits and starts.
Still, as a debut, it’s impressive stuff.
“NIGHT CATCHES US.”
R for language, some sexuality and violence. 1 hour 40 minutes. Opens today at the Denver FilmCenter/Colfax.
