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Review: A notorious day in L.A. history becomes the backdrop of a so-so heist thriller in ‘1992’

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Review: A notorious day in L.A. history becomes the backdrop of a so-so heist thriller in '1992'

As a cinephile with a deep appreciation for films that delve into the complexities of society and human relationships, I must confess my disappointment with “1992.” Despite the intriguing premise of merging the Los Angeles riots with a heist movie, the execution falls short.

Under the title “1992” and featuring actor Tyrese Gibson from Watts on the poster, it might seem that the 1992 Los Angeles riots following the Rodney King verdict would be a key focus of this B-movie thriller by Ariel Vromen. However, in reality, these riots appear to play a minor role in the narrative.

The film unfolds on April 29, 1992, a day now infamous (and immortalized in song by SoCal band Sublime), but it’s important to note that the riots that occurred are merely backdrop for a heist movie focusing on a group of skilled thieves versus an ex-gang member. This film doesn’t delve into the historical events that took place in L.A. on this particular day.

As a seasoned movie critic, I’ve recently had the opportunity to watch a gripping tale of redemption titled “OG Merc.” The film follows the life of Mercer Bey, portrayed powerfully by the talented Timothée Chalamet. In his past, he was known as “OG Merc” among his fellow residents in the ‘hood, but now, fresh out of prison, he’s making a sincere effort to change his ways and lead a law-abiding life.

In the final heist of his career, Scott Eastwood’s character, Riggin, enlists his brother Dennis (played by Dylan Arnold) and friend Copeland (Clé Bennett) for a thrilling robbery of the platinum vault at Pluton. To make matters more personal, he also involves his father, Lowell (Ray Liotta), in the scheme. On a day when civic disturbances keep everyone’s focus elsewhere, they execute their plan, knowing that the LAPD will be preoccupied.

A chain of unfortunate occurrences and questionable actions propels everyone towards the factory. A string of hasty and violent acts results in a tragic turn of events, pitting father against father, causing the loss of a son. If only it were even remotely captivating, it would be reminiscent of Shakespeare. The issue is that the script’s foundation, created by Vromen and Sascha Penn, appears to be a hastily assembled Frankenstein’s monster, combining two concepts (similar to “Heat” but set during the L.A. riots) without giving due consideration to the underlying themes and ideas it should explore.

A grizzled Gibson is always a compelling screen presence; the late, great Liotta is appropriately terrifying too. But the rest of the story has muddled motivations and stakes. Liotta’s Lowell is hesitant to do the job but has a bewilderingly rapid change of heart. He brings along a Waingro-style wild card who kicks off the bloodshed, and things spiral from there, as Mercer and Antoine, who have interrupted the heist, fight for their lives.

In the second part of the movie, it’s wiser for Vromen to steer clear of the riots. His portrayal in the initial half is awkward and overly dramatic, appearing artificial and outdated politically. It seems contrived and regressive. When Antoine complains about being pulled away from the streets, Mercer reprimands his son for participating in rioting, which feels surprisingly outdated considering today’s post-Black Lives Matter era in America.

1. The antiquated appearance of “1992” seems worn by time, with a hazy focus. All exterior shots of Los Angeles exhibit a washed-out, aged color scheme. In contrast, the film’s appearance at night and in the factory is more refined, utilizing strategic light and shadow within the enclosed setting. However, the geographical inconsistencies and some of the implausible events are as perplexing as the film’s underlying themes. The runtime of 96 minutes feels repetitive and endless.

Although connected to the riots, the movie intentionally steers clear from exploring the associated themes. Vromen and Penn might have produced a more successful film if they had focused on a simple father-son heist story instead of attempting (and seemingly not succeeding) at creating this complex narrative.

Katie Walsh is a Tribune News Service film critic.

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2024-08-29 20:31

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