“My name is Ruby, and I am with my father,” a frantic young woman moans through a voice message. “Everyone just stay away from us.” Well, Ruby certainly has everybody’s attention in director John Curran’s (Eden, Chappaquiddick)’s intense new film, Mercy Road. Immediately everybody is calling Tom (Luke Bracey of One True Loves and Little Fires Everywhere), whom we meet covered in blood and hopping into his work truck. Thing is, Tom isn’t with Ruby, and he has not abducted her as everyone suspects.
Tom is on the run, however, fleeing from something ominous that occurred, and as he frantically speeds down the road in the dark of night in his truck, he’s bombarded with one call after another. A few of them come from people barking out instructions he must follow — or else. One caller, in particular, known as “the associate,” is a psychopath who kidnapped his daughter because, well, poor Tom did something nasty. Oh my, there’s a lot happening here.
Mercy Road is a gritty and amped-up thriller, and it stands out for the fact that most of it takes place in a truck during the night while our protagonist feverishly rushes to save his daughter. It’s a bold move from screenwriters Jesse Heffring (Sigma) and Christopher Lee Pelletier, who co-wrote the film with John Curran. It recalls Tom Hardy’s Locke and a more recent film, The Passenger, which found one troubled soul forcing another man to partake in a diabolical car ride. This film is far more intense, and it may satisfy audiences looking for a high-octane rush, even though it’s over-the-top vibe nearly screeches everything to a halt.
Lord Have Mercy, Simmer Down
Well Go USA
It’s one thing to place your protagonist in harm’s way, and quite another to keep that character operating on full freak out mode for nearly two hours. It worked for Sandra Bullock in Speed and Bruce Willis in Die Hard, mostly because of their humor, but it doesn’t always land well here. The good news is that Luke Bracey delivers such a dynamic performance here, it’s hard not to like this movie. The actor was a great choice to carry the tense film, landing all the right emotional beats that the script suggests.
Think of Mercy Road as a stylish gothic noir thriller. Between its look and tone, there’s a powerful edge to the tale. Tom’s frantic truck ride begins at sunset, and heads into the dense, foggy night. Yes, that’s metaphorical to his own emotional journey. The light — or lack thereof — is emblematic of the mood, and perhaps Tom’s own darkness. What a moody nightmare it is.
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As Tom outruns cops and swerves into twisted roadways, the phone calls continue. His ex-wife (Alex Malone) is frantic and pissed. But Tom doesn’t have Ruby. She’s not buying it. Oh, the stress. A frazzled work chum calls, which is so bad timing. Ruby’s school rings. On it goes, every call spiking Tom’s blood pressure. The “associate” keeps Tom on track — follow the orders; stay in the truck; drive. The man is surely playing with Tom on some level, chipping away at his psyche. But to what end? Best to go with it because it’s a bit head-scratching to figure out the real motivations of most of the characters — ones we don’t see, in fact — in this film.
The Road to Redemption
For a redemption story, Mercy Road has plenty going for it. It’s safe to say that the audience probably would have appreciated less scenes with Tom bellowing for mercy. But hey — movie title and all that. The film, which also features Martha Kate Morgan, Huw Higginson, Susie Porter, and Toby Jones as the “associate,” is loaded with existential questions pointed directly at Tom. He’s flawed, sure, but maybe this is too much.
Still, who is Tom, really? Where is he headed in the truck? What will be discovered once he gets there? Is his kidnapped daughter still alive? It’s anybody’s guess. The filmmaker does an effective job keeping this guessing game going, regardless of how grating it can feel at times. That may be the point, however.
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The final 20 minutes of the film, typically a time when a film reaches its height and begins to wrap things up, offers a few interesting new developments. Somebody from Ruby’s past calls Tom and may be able to provide help. Tom, now a sweaty mess, rushes desperately in one last valiant attempt to save Ruby. It’s here where the film could have leaned more deeply into uncovering some of Tom’s past and, perhaps, some of his own insights on how to turn things around. Instead, it keeps speeding along at reckless abandon. Later, when the “associate” calls, it’s clear that this omnipresent figure may always be engaged in dark twisted games of control like this one. It also suggests that there are others out there, just like Tom, with whom the “associate,” well, associates with. So God-like that one.
That little bit also suggests curious sequel opportunities. Although that would be a stretch. Best to leave this tale as is. (The ending may divide viewers.) Mercy Road is not the best thriller to emerge this season, but it’s a gripping one at that. So, sure — go along for the ride. It’s bumpy but never boring.
Mercy Road opens in theaters October 6 and available On Demand October 10.
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