Action filmmaker John Swab is arguably one of the most underappreciated filmmakers working today, largely because he works in the space of B-movie action. However, his work has screened at festivals including Locarno, Fantasia, and even Venice. His latest film, King Ivory, is both one of his more ambitious and more accessible — a well-rounded, effective crime drama.
What is King Ivory about?
The film is set in the underworld of fentanyl trafficking, following the law enforcement officers, gangs, addicts, and everyone else involved in the trade of this lethal drug. Reportedly, Swab based the film on extensive research into this world and issue, which aligns well with the grounded vibe that Swab typically goes for.
King Ivory Review
One thing that stands out about Swab’s script is how much empathy and nuance he treats his characters with. The attics don’t feel pitied, but humanized; the narcos don’t feel broadly villainous, they’re actually three-dimensional; and the law enforcement officers aren’t painted through rose-colored glasses of heroism. Swab is clearly interested in engaging with the complexity of this issue.
Unfortunately, there is a lot more to the problem of fentanyl trafficking than can be explored in a single feature-length film — even one that’s two hours and ten minutes with a kaleidoscopic narrative structure. Still, the film does a very good job of showing the human cost that this drug has on the people who are touched by it, whether directly or indirectly.
That being said, since there are so many moving parts in the story, the film never loses its narrative momentum. So much is happening that there’s never a moment for it to really slow down. The biggest chance that audiences have of getting bored with the film is when it becomes derivative of other drug trafficking dramas, namely Steven Soderbergh’s Traffic.
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Like the rest of Swab’s filmography, King Ivory takes an incredibly gritty style. Although it’s maybe not as action-packed as some of the filmmaker’s other work, the shootout sequences that are there are impressively staged, with an understanding of spatial geography that will make viewers feel like they have been thrown into the middle of the fight.
The de facto lead of the film is character actor James Badge Dale (The Departed), who gets a rare chance to have the spotlight. He effortlessly exudes charm in a way that makes it feel like he has been a leading man forever. He’s great, as expected, in the action sequences, but even more impressive are the quiet moments when he has to show his emotional range.
The biggest standout in the cast is Ben Foster, whose performance is a lot more subdued than usual, if only out of the nature of the role. (His character has a stoma, meaning that his range in terms of volume is severely limited, forcing him to do more with the other aspects of his acting abilities.) The result is a performance that is not only one of the film’s best but also one of the best in Foster’s career.
Because the film is largely an ensemble piece, there are also plenty of impressive supporting actors, but unfortunately, many of them are not given much to do. Michael Mando (Breaking Bad) is quietly intimidating as the cartel enforcer, playing the role refreshingly free of cliches. Melissa Leo (The Fighter) has some fun moments as the crazed mother of Foster’s character, but doesn’t have enough screen time to feel impactful. And the late Graham Greene (Twilight) makes the most of his few moments.
Is King Ivory worth watching?
Indeed, while King Ivory often feels like it bites off more than it can chew, John Swab’s crime drama is mostly effective as both a piece of popcorn entertainment and a film designed to deliver a message. If more B-movies had this level of passion and craftsmanship, it would be a much more respected subgenre of filmmaking.
King Ivory is now in theaters.
King Ivory Review — An Effestively Gritty, Kaleidoscopic Crime Drama
Boasting a humanistic approach to its challenging central issue, King Ivory is a gritty, grounded crime drama that is another bright spot on the filmography of B-movie auteur John Swab.
