Imagine the U.S. government is rounding up citizens, detaining them, and robbing them of their rights with the idea of installing a system of fear and compliance. No, it’s not the news on abuses of power via unchecked bodies like ICE, this is the plot of False Flag, a low-budget found footage action movie that happened to film in Ohio and is now widely available online as well as being carried on your friendly neighborhood Wal-Mart shelf. I congratulate them on getting their movie out there to the masses. The finished film has some narrative and execution issues but can still be an enjoyable experience, especially for genre fans of military thrillers. Strap in.
We open with a fringe conspiracy host as the frame story, telling his audience what they’re about to see is real footage compiled together to indict the U.S. government. In the small Ohio town of Madison, brothers Mark (Sean Mount) and Ash (Justin Rose) are feuding with old grievances and new, including Mark getting married to Stephanie (Olivia Vadnais). Ash has brought along his YouTube-eager pal Donny (Andrew Yackel), who is obsessed with recording everything for his fledgling channel. Then all of a sudden there is a high-pitched shriek, military vehicles roll into town, and citizens and protestors alike are rounded up and beaten. Ash, Stephanie, and Donny seek shelter with a conspiracy journalist (Jennifer Andrada) and some local militiamen armed and ready to combat what they viewed as the eventual tyrannical government takeover. Over the course of one long night, our people try and escape and get their story told.
Before I go into further detail on some of the shortcomings of False Flag, allow me to highlight its positive aspects. This is a pretty good-looking movie for being a low-budget action thriller, and the cinematography has a nice color balance to many scenes. A race through a maze of school hallways at night is made all the moodier by the professional aesthetic, and many of the action scenes are pretty solid and staged well. The larger riot sequences and chaos that erupts are coordinated well with the background action giving way to whatever blocking our main characters need. The use of the military vehicles also helps lend to the credence of the “it could happen even here” reality. The acting overall is pretty solid without a bad performance. Surprisingly enough, writer/director Aaron Garrett (Foxcatcher) gives one of the more memorable performances as a local mechanic by day and would-be Rambo when called upon. The movie gets markedly more entertaining when he comes into the picture and is able to even the odds. He has a smoothness to his performance that grabs your attention. Yackel (Swamp Thing) has a pleasant presence and a squirrely demeanor that can be endearing. Andrada (Macabre Manor) stands out early as the on-location correspondent for the Alex Jones fringe TV show. She has an affectation that makes her talk very directly, quoting often, but it counts as a viable personality and a pointed perspective that helps butt up against others.
False Flag is the kind of movie that seems like its intended audience are the doomsday preppers and gun hoarders that envision themselves as a Hollywood action star waiting for the eventual government tyranny to give them their time in the spotlight. This premise can be done with skill but absent that it feels like a misguided wish fulfillment that encourages radical thinking in fringe people. I’m not saying the movie is irresponsible. I’m saying that False Flag exists in the same kind of universe of a “Jade Helm” takeover, where it only makes sense for the people who already think along these lines. At one point one character asks a prepper what’s in it for the government to perform its false flag operation, and he responds, “Global totalitarianism.” What does that even mean? Are the police acting in conjunction with the military? Have the military infiltrated the ranks of small-town police officers? It’s rather nebulous. All we know is that someone is taking over for vague reasons and there doesn’t seem to be enough of them.
Eventually it’s theorized that the government is doing this in a small-town to blame on terrorists and justify further military action. But… why is any of that necessary? The United States public has already accepted the idea of going after terrorists, especially on foreign soil and in the age of drone warfare. The U.S. military doesn’t need more public support to go after this already targeted target. If it’s to blame political activists as domestic terrorists, then this plan sure is sloppy. Nobody in Madison we see attempts to call for help, post their recordings, or even watch TV until seemingly hours after the start of the martial law, which is insane. It takes away from the seriousness if characters aren’t immediately trying to make outside connections. When the characters break into a school where prisoners are being detained in a cage (very reminiscent of our current concentration camps along the border) and there are NO GUARDS whatsoever in this room to watch. This is one incompetent government takeover. There is one moment that I had to stop the film and walk around my home because it simply astonished me (some spoilers to follow). The characters cut open a chain-link fence keeping people inside their detention cage… and the other people… stay put. I guess they realized what an important moment this would be to reunite the brothers and didn’t want to ruin it for the cameras. These people act with no urgency when they can flee, and I am still reeling from this moment.
The very ending tries to flip the script but by that point it feels too late and too confusing. I’m at a greater loss what the whole operation was for, who benefited, and who was playing along. There’s some ire toward media manipulation but it feels too late to switch gears with who the recipient of the film’s condemnation is going to be. There’s a five-minute epilogue that throws everything in doubt and leaves you questioning what you saw, but I don’t know what the supposed agendas are and who is playing who and why. Good luck.
The dialogue is pretty plain, which is fine, but its use of exposition is heavy and rather inarticulate. Exposition is a tricky issue because any writer needs to make it as invisible as possible and think about what is essential and when it can unfold to the audience in a hopefully natural manner. There are easy ways around this like the ole answering machine message that fills in the blanks. Here is a sample from about a half hour into False Flag after the first big riot with police:
Stephanie: “…So your mom’s a doctor?”
Little Girl: “Yeah, so, she’s not home that much. But it’s okay I guess.”
Stephanie: “What about your dad?”
Little Girl: “John… I don’t know. He works for the government as a translator or something like that. He and my mom split up while I was young. We were actually on our way to DC to meet him before all this.”
Little Girl: “Don’t be.”
Stephanie: “Do you have any brothers or sisters?”
Little Girl: “Nope.”
Stephanie: “Must be tough being alone all the time.”
Little Girl: “Not really. I grew up pretty fast.”
Stephanie: “I can see that. You’re a pretty strong girl. How long have you lived in Madison?”
Little Girl: “I know you feel like you have some responsibility to keep me safe or keep my mind off what happened but you don’t. I can take care of myself.”
This example stunned me with how transparent the exposition was, which forced characters to speak like they were more machines built to espouse helpful context. Real people do not blab everything about themselves in case someone may be watching who doesn’t know the key parts of their background. Real people do not talk like every moment is a job interview. The problem with False Flag is that there are too many scenes likes the one above, where characters vomit out the necessary info in such a transparently clunky way that it further breaks the film’s reality.
The found footage conceit provides more problems that are not addressed. Firstly, the nature of found footage means there has been a hidden editor and this is all the more relevant because the showcase for this footage is the Alex Jones-style show, which means someone has intended for it to be broadcast for an audience. This brings up the same questions of why the mysterious editor elected to install a narrative. Why is it important to set up these people like they are characters when the important parts, the government’s supposed false flag entry, is the big deal? Furthermore, why is this mysterious editor splicing in flashbacks from an earlier recording of the two brothers running around in a park? This was cleverly done in 2008’s Cloverfield but that’s because it was taped over a previously existing recording, allowing for the good times of a former relationship to sneak in for contrast. But if the intent is the broadcast and to highlight government abuse, why has the mysterious editor chosen again to bend toward a narrative?
Then there are things that simply break the reality of the found footage conceit, enough that they took me out of the movie and I had to start cataloguing them. The general idea is that we have Donny with a handheld camera and Ash with a body camera attached to his ear like a Bluetooth device, but you better believe every scene has the characters adequately framed, which means Ash is awfully cognizant of how he needs to turn and tilt his head in order to get a workable camera angle from his vantage point. When the camera gets passed to other characters, why do they continue recording? Ignoring even that since the movie needs it to carry on, there are moments that shatter the illusion of found footage, like one of those park flashbacks where we see Mark run into a clearing to help his brother and he sets the camera down not on the ground but on… something. When we saw him running there was no rocks, no trees, nothing to be seen, which means I have no idea what this camera is resting on. The most egregious is a conversation where the camera literally racks focus as the woman is talking. She doesn’t move out of her position and it happens even before she turns around, as if the camera KNEW the attention should be on the people in the distance who Donny was referring to. If you’re going to go the found footage route, things like this cannot crop up.
As far as low-budget action thrillers go, False Flag can sate your moderately checked expectations. It provides some thrills and with a professional presentation and uniformly solid acting. The story is pretty threadbare and the found footage conceit feels too minimally thought through, serving a larger point that ultimately is muddled by its rushed and twisty delivery. I think this premise and even the found footage approach could have been a dynamite combination, but it required a bit more development and consideration. False Flag is not a bad movie and I admire much of its technical grit but it is pretty standard thriller stuff, which means it’s hard for it to distinguish itself against the glut of other low-budget direct-to-DVD action lining the catalogues of streaming and shelves.
Nate’s Grade: C
As I’ve been more involved in my local film scene, I’ve gotten to know and befriend many good people and creatives that are following their dreams. My long-standing belief is that any movie is a miracle given the enormous undertaking and collaboration it requires, especially if it’s through the often arcane and contradictory gatekeepers of the studio system in Hollywood. Fortunately, writers and directors just gather what resources they can and make their movies on their own terms rather than waiting. I’ve found that these projects could benefit from sincere and respectful film reviews, and that’s something I can actually contribute to. As with other Ohio film projects, I do happen to know a few people involved in key areas with the movie Huckleberry (currently available for free on Amazon Prime, folks), but I promise to be as objective as possible with any constructive criticism and discussion. It’s an intriguing 77-minute feature with an admirable presentation, good acting, and some plotting missteps that hold it back from hitting its full potential.
In Ohio 1999, Huckleberry “Huck” (Daniel Fisher-Goldman) is trans and living as a man, with the occasional hormone shot via the Internet. He’s living with a foster brother (Yang Miller), aggravating various neighbors and authority figures with his attitude, and not-so-secretly crushing hard on his friend Jolene (Sarah Ulstrup). The problem is she already has a boyfriend, an abusive drug-addict named Clint (Justin Rose) who Huck cannot stand. One night it’s too much for Huck to bear, and he takes it upon himself to provide a reckoning for Clint. However, this confrontation doesn’t quite go as planned and an “unknown attacker” gets back at Huck.
The story of a hero pulled into the spiderweb of a wronged woman in need of protecting is the setup of many an indie thriller and classic Hollywood noir. It’s the scenario of the character getting in over their head and learning that their preconceived notions of the world were naïve. Huckleberry borrows elements from that familiar setup. The direction of the story is very much tied to the lengths Huck will go to protect and/or win over his crush, Jolene. You think this will ultimately create a series of spiraling events that get worse and worse, but that’s also not quite what happens.
Huck is our plucky protagonist unafraid of much, including kissing his crush as his school video project (under different circumstances this act, and his insistence on sharing it to the class knowing Jolene’s potential discomfort, might come across more as creepy). The story does a fine job of establishing a one-sided relationship between Huck and Jolene. She does care for her friend but she’s clearly hesitant about anything beyond platonic, but she doesn’t use Huck’s obvious feelings for overt scheming. It would be easy to have her slide into femme fatale territory and manipulate Huck to take out Clint, but that doesn’t happen. Huck, seeing himself the champion, takes it upon himself to target Clint, and this unrequested intervention actually upsets Jolene and harms Huck’s relationship with her. That was a nice development. By choosing to have Huck incapacitated for a decent portion of the film, Jolene steps into the spotlight. The change in her character is a tad rushed, having to get to a place where she welcomes Huck’s white knight compulsions, but I feel writer/director Roger Hill (Flying Paper) has put together sufficient reasons why she would make her final decision.
This is a low-budget movie that doesn’t feel like a low-budget movie thanks to the admirable professionalism of its presentation and the occasionally stirring cinematography. There were a few moments that made me go, “Wow,” which is exceptionally rare for low-budget films. The photography by Jon Coy (The Turn Out) is gorgeous and makes a painterly use of light. The sets are impeccably chosen as well, making fantastic use of the decaying parts of small-town Ohio to provide a sense of ambience and time and place. There are some judicious shot selections as well, often tethering the camera to a moving object like a car. There’s one shot I thought was really well done where the camera is attached to a shopping cart and we watch Huck place different items inside, each contributing to a bigger, sinister purchasing picture of what lies ahead.
Another sterling facet of Huckleberry is the acting overall. Ulstrup (The Dance of Amal) is a future star waiting to happen. There are several moments that live or die depending upon her line delivery, and she always succeeds, elevating the scene. A tearful confessional late in the movie had me spellbound. She comes across as so natural from scene-to-scene, whether it’s her awkward uncertainty of what to do with her friend’s feelings for her or the hurt and self-loathing she swallows in her abusive relationship. Ulstrup is excellent at hiding the affectations of acting and digging into her character. Fisher-Golden (The Emma Agenda) has an interesting presence and can definitely play to his character’s strengths of know-it-all condescension and coiled anger. The actor’s best moments are when he’s trying to contain the emotions that will spill out. Rose (Super Dark Times) does a fine job conveying a grungy, desperate lowlife who probably knows he’s never going to be cut for a better life than the one he’s eking out. Rose could have gone on autopilot as the “creepy abusive boyfriend” role, but he establishes a, for lack of better word, integrity to the character that reminded me of the better character actors. I could see Scoot McNary (Argo) in this part, and that’s a fine comparison. I want to single out one performer for making the most of it. Consider the No Small Parts Award to Dennis Lee Delaney (Departure), who plays the school principal who clearly has contempt for Huckleberry, referring to him by his feminine birth name. Again, it’s the kind of role that could be a caricature, but Delaney underplays the scene, bringing a greater sense of realism and disdain. At the end of his one scene, I found myself congratulating the actor and hoping casting directors would see this.
Where the movie miscalculates is once Huck is attacked by an unknown assailant. The aftermath takes up maybe a half hour and far too long, which puts the main character in the penalty box and relies upon the established supporting characters to carry the film. This can’t quite work because the supporting cast, with the exception of Jolene, have just existed to serve the protagonist. They don’t feel like they have a real inner life of their own. This makes it even more challenging when the narrative transforms into a “who dunnit?” mystery. The obvious first suspect is Clint, but the movie telegraphs he is not the perpetrator and makes you suspect everyone else, so we’ll get scenes of people acting mysteriously vague and peculiar to keep up the air of mystery. When a character responds to the news of Huck awakening with a look of worry, is that person the culprit? When another character ominously alerts someone that Huck has awoken, it plays like a warning, but ultimately most of these are misdirects. The narrative cannot sustain this extended guessing game because we haven’t gotten to know the supporting characters to the point that we may suspect them. When the eventual culprit is revealed, I literally said seconds before, “Wait, who is this character?” The reveal lacks the impact needed for a mystery because the eventual culprit was so incidental as to be forgotten. Once revealed, I felt like Huckleberry found some renewed life, because now this person had a secret to keep and would they be caught? How far would they go to keep it? If the film were going that route, I would reveal the perpetrator with no mystery early to better luxuriate in that tension of the consequences of this violent act. However, the emphasized mystery doesn’t allow for that, so it places the film in an awkward holding area with characters unable to carry the narrative burden.
There are a few problems with setting the movie in 1999 and one of them is the treatment of being a trans high school student, an important dramatic aspect that doesn’t feel fully explored. Early on, when the movie establishes that our lead character is a trans man, it got my attention a little more, as this is not a perspective often showcased in movies during this time period. I thought it would be a way to make a neo-noir thriller or coming-of-age indie fresh. The problem is that nobody in this Ohio rust belt high school views Huckleberry being trans as any big deal. The only push-back comes from his principal during their hostile meeting. That perspective might work in 2019, after greater trans representation and general cultural understanding, but it feels inauthentic to a Midwestern world of twenty years ago. As somebody who was in high school in the 90s, in Ohio, I can say that any trans student living openly as they felt comfortable would have met some degree of resistance, name-calling, and bullying. The fact that everyone in this high school is so accommodating and understanding is remarkable and remarkably unrealistic.
This also opens up the question over why the filmmakers elected to have Huck be a trans man at all. It doesn’t affect the story in any significant way, beyond maybe one neighbor’s added fury when catching his teen daughter intimate with “another girl.” I suppose you could make the argument that Huck is trying to stake his claim on his identity, on this town, and doesn’t care what people think, but does the character need to be trans to convey this? You could also argue just having the lead character be trans is a positive for diversity and simply having better representation, and that’s true. Part of my disappointment stems from the fact that the story had this really interesting perspective and as executed it feels too peripheral. Huck could just have easily been a cis lesbian and achieved the same effect, or even just been a straight cis male. If you’re going to make your protagonist a figure from a marginalized minority group, often the target of bullying and worse, it feels like a narrative disservice to not make that perspective known. This is a very general analogy, but imagine telling the story of an African-American WWII soldier integrated in the armed services and having every person be oblivious to their race and the potential conflict.
Huckleberry clipped along nicely and had many attributes that I admired, from the crisp photography, professional use of visuals and locations to enhance the story and mood, and the overall good acting. The story is only lesser because there are certain choices that don’t feel as best capitalized, from the main character being trans to the inclusion and overlong attention on a mystery that feels like a diversion at best. Also at no point does any character explain why Huckleberry wants to be called Huckleberry, which seems like a moment tailor-made for 90s-centric indie cinema. The story elements were there for an even more engaging, compelling, and unnerving story but it can’t quite maximize that potential. As a result, Huckleberry is an enjoyable and sincere little movie that was knocking on the door of being great. It’s worth your 77 minutes and I think it points toward bigger and even better things for Hill and Ulstrup in particular.
Nate’s Grade: B-