I genuinely forgot that I had supported Straitjacket, a new Ohio-made indie thriller filmed in the Dayton area several years hence. I know some people involved in the production and remember seeing a teaser trailer years ago asking for further editing donations. I could not remember if I had actually donated to its post-production costs and sure enough, in the end credits, there is my name under the thanks section for financial assistance. We’ll see if writer/director/co-star/editor Phillip Wiedenheft feels like listing my name was a mistake after this review. Straitjacket is a moderately successful thriller that entertains as long as it keeps things unbalanced.
The first thing we know about Wolf (Wiedenheft) is that he’s getting wasted in the woods. He awakens the next morning and loads a rifle and shoots at glass bottles. Except his shot goes beyond the bottle. He hears screaming and discovers his shot hit an old man walking through the woods. The man’s granddaughter, Lola (KateLynn Newberry), chases after Wolf, who hops into his car and drives away. Wolf is desperate to escape but he doesn’t have enough money for a plane ticket. He also might have left behind more than a few incriminating items in the woods after he quickly ran off. Wolf tries to take refuge with his dealer, the few family and friends who may still speak to him, while Lola languishes in despair and wonders if she can find the killer.
Straitjacket owes a creative debt to the films of writer/director Jeremy Saulnier (Green Room, Hold the Dark), the man who worked nervy tension to a breaking point in his elegantly constructed indie thrillers (I immediately re-watched Green Room following this movie too). The tone and visual palate of this movie reminds me plenty of 2013’s Blue Ruin, a superb movie that follows a bearded vagrant on the run after an act of vengeance places a target on his head. It’s a revenge story stripped to the bone and free from the bombastic spectacle of bigger movies exploiting the same territory. The hero in that film, a drifter, wasn’t particularly skilled at killing, or defending himself, and was clumsy and all-too human as he brought a maelstrom of pain onto his life. It’s easy to make these same connections with Straitjacket, where it almost literally begins with a literal bang, a very easy to follow starting point stripped of exposition. Before the five-minute mark, our main character has killed someone in an accident and is now on the run. There’s a pleasingly frantic nature to the plotting, going from one desperate gamble to another, trying to figure out a possible escape as well as covering up his culpability. Wolf, just like the protagonist of Blue Ruin, is not particularly excelled when it comes to crime. He screws up. He has to correct his mistakes. He gets into debt to people who hold leverage over him. He has to scrounge up money in order to secure the things he needs to flee. The screenplay connects the dots in a way that doesn’t feel overly contrived even when the final act involves the ironic crossing of paths of all the necessary characters. That is a common occurrence in tragedy, the nature of inescapable fate and so we allow it, and Straitjacket is a tragedy disguised as a runaway thriller. If anything, it’s about people trying to escape from their mental and physical pain.
At the half-hour mark, the narrative switches perspectives, and we now see things from the victim’s point of view. In the hours before the fatal accident, we see Lola and her grandfather going about their day before he is taken permanently from this Earth. They discuss her process of recovering from addiction and share a small but heartfelt moment planting a tree mingled with the ashes of loved ones, Lola’s mother and grandmother (I think?). The old man says Lola is the only family he has left and he doesn’t want to come out here and plant another tree. Just with that line, with that moment, the filmmakers have managed to say everything they need to say in a meaningful and character-centric fashion. From there, much of the next half hour is Lola trying to make sense of her sudden loss. I thought perhaps the narrative had flipped and we were going to follow Lola as she tracked down Wolf and enact her own vengeance, but the movie doesn’t really do that either. She stumbles upon him again just because he returns to the scene of the crime and she recognizes his car, but her agency stops at calling for help from an ex. That’s disappointing because she could have been the right participant for the audience to root for.
And therein lies one of the issues holding back Straitjacket from real gut-churning dramatic greatness, the fact that you don’t really root for any character to achieve his or her goal. While streamlining the narrative has made the plot relatively tight and quick to start, we also don’t really get much in the way of fleshing out Wolf as a person. We know he’s self-destructive, we know he’s struggling, and a caravan of interactions with minor supporting players fill us in on the myriad ways he is disappointing others (he has a son he never sees, he’s stolen from family before, he’s gotten into trouble with his dealer, etc.). He’s just sort of a screw-up but we aren’t given redeeming qualities, we aren’t given moments that allow a personality to shine through, where we can see his hopes, maybe a glimmer of his time and who he was before his addictions. He’s less a character and more a walking Tragic Symbol with antsy legs. The same with Lola. She’s suffering, she’s hurting, she wants to find her grandfather’s killer and bring them to justice. But does she do anything to actively achieve this? Not really. She lucks into attending the same drug house that Wolf does, and this sets up a finale that tries to have it both ways, ultimately ending on redemption and closure but not quite managing the catharsis of either. That’s because the limited characterization made the later emotional investment limited as well.
Take a look at Blue Ruin for comparison on how it could have been done effectively. It’s established why the main character’s life has been in shambles, he finds the person responsible for murdering his parents, takes his clumsy vengeance, and the rest of the movie is him outrunning the mounting and bloody repercussions. That movie works because the act of violence that kicks off the scramble is eventually revealed to be justifiable from the character’s perspective (his own sister, whom he initially hides with, congratulates him). He’s also the underdog as the forces coming after him are armed, dangerous, and larger, so then the movie becomes how this one man can use his few resources and lead time to outsmart his eventual attackers. It becomes naturally engaging because the odds are stacked against him and every time he surprises or beats them back is another victory and satisfying to watch. Straitjacket doesn’t afford similar satisfaction for a viewer. That’s the difference between a thriller and a tragedy, not that Blue Ruin was absent its own stark sense of tragedy as revenge was deemed ultimately as self-harm. There isn’t that push with Straitjacket. Lola isn’t actively looking for her culprit, and her path toward vengeance isn’t taking a toll. Sure, you could argue it’s what causes her to consider relapsing back to addictions but even that struggle is kept very generalized.
When the movie attempts to connect to larger social and political issues, it feels more grasping than edifying. Both of the main characters are struggling with drug addictions, and there’s even passing reference to the opioid crisis happening nationwide, but the drug problems are more scant characterization than anything thematic. I suppose one could be generous and talk about people being haunted by their past mistakes, enthralled to addiction, and working to become better people in control of their own lives, but that’s a generic plot foundation that any nominal drug addiction movie traffics within. Likewise, the Army vet who is coping with his PTSD through drug addiction seems like it has the potential to make larger statements, but even this aspect of the movie is curiously underplayed. I thought the filmmakers would tie more trauma together with the past and present for Wolf, even indulging in certain triggering sounds or images. I suppose Straitjacket’s title is meant to reference the bind that these characters find themselves in due to drugs and other socioeconomic circumstances (no one literally wears a straitjacket). I just thought the movie would have more to say than drug addiction is rough.
I also think it was a mistake for Wiedenheft to have played Wolf. I don’t know if this decision was born out of necessity of keeping the crew small and moving, not having to contort around another actor’s schedule when the writer/director could just step in, or if this was a part that Wiedenheft really wanted to portray. I assume it’s more the former than the latter. In that case, this might be why Wiedenheft the writer kept things minimal on Wiedenheft the actor. There are a few challenging scenes to play, like drug highs and the lows of desperation, but the performance is much more reactive and kept at a distance. Maybe he’s meant to be more a cypher, a stand-in for countless others struggling with the cost of addiction, but if this was the case I figure more attention and specifics would have been placed thematically.
The acting shortcomings of Wiedenheft are more noticeable when compared to his co-lead. Newberry is a familiar face in the realm of Ohio-made indies (The Curse of Lilith Ratchet, Dark Iris, The Wager) and gets the big emotional moments. Newberry sells the grief and shock with ease. A notable standout is JoAnna Lloyd (Brimstone Saint) as a park ranger. She’s only in the movie for two brief scenes but she leaves a favorable impression as a woman struggling to even compute the tragic events that she is now meant to serve as an authority for. Her loss of words, awkward articulation, and sense of bewilderment trying to comfort another is deftly played.
From a technical standpoint, Straitjacket is marvelous and impressive, and the level of its professional presentation in no way betrays the fact that the movie’s budget was only $15,000. The cinematography is extremely polished and moody, again reminding me of how Sauliner uses his sleek images and compositions to make even unnerving anxiety appear oddly beautiful. There’s a clear and clean visual talent here. I can see how a thriller would be appealing for this artist. When things are on edge and in movement, that’s when Wiedenheft is at his best as a director. It’s when things slow down that we start to see faults with the limited characterization and themes. Still, this is one Ohio-made indie that doesn’t feel like it’s stretching to a breaking point simply to get to a feature-length running time. There feels like even more could have been explored, maybe a third character perspective to open things up even more and examine the long ripples one devastating mistake can have on many lives. It’s tragedy served up as chase movie, but when things slow down that’s when you’ll notice how Straitjacket could have used more knots to tie itself into an even more tantalizing and emotionally grueling film experience.
Nate’s Grade: B-