A chamber-drama setting for issues that have spilled out into practically every corner of American life, Kenny Leon and Christopher Demos-Brown'splaces a black mother in the waiting room of a police station and watches for 90 minutes as she tries, through rising and falling levels of desperation, to find out what authorities have done with her son. Adapting the recent play of the same title , the film does little to disguise its roots.
The boy's father shows up first. Scott Connor is white, a fairly puffed-up FBI agent, and estranged from Kendra — all three attributes certain to turn a tense interaction into a minefield of misunderstanding and misdirected emotion. A faux pas on Larkin's part sours things, but reveals a shred of information — Jamal was indeed in a car, with two black friends, that was stopped by a patrolman at some point last night — that informs long arguments once the lawman leaves the room.
But a little suspension of disbelief goes a long way in this instance, as the pent-up anger that comes with the scenario — Scott left Kendra for another woman , and has since spent nearly no time with the boy he thinks he has already finished raising into manhood — intensifies the drama substantially. It may even, in a perverse way, make us ready to hear things we already know with new ears.
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