de facto film reviews 3 stars

For lack of a better word, there comes a difficulty when writing and directing films revolving around adolescent characters. The difficulty is, how said characters are written overall so that they are realistic and share qualities actually found in actual teens. Now, I feel it is safe to say that there has been an unbearable number of films that completely butcher the writing of the new generation, mainly due to writers being out of touch. But the blame should not be completely laid amongst the writers as kids and teenagers are simply everchanging at all times. Adolescence is constantly evolving by the day, whether it be the slang or even their personalities, so it’s evident why films miss the mark when writing such a surreal demographic.

Though there has been a small sum of endearing films that are impressive with their sharply honest and genuine writing, films such as Bo Burnham’s Eighth Grade, Olivia Wilde’s Booksmart, or Greta Gerwig’s Lady Bird. To say it is refreshing to see the execution of youth culture done exceptionally would be an understatement. And it is exactly what is felt when sitting down and watching Amazon Prime’s latest black comedy, Emergency, directed by Carey Williams and written by Oscar-nominated writer K.D. Dávila (Please Hold). As they get ready for a legendary night of partying, three college students find themselves at home where they find an unconscious woman. Paranoid of being convicted of any wrongful actions, they decide to rid the idea of alerting authorities and instead take matters into their own hands by attempting to get the woman to safety while avoiding any suspicion. 

Film 'Emergency' blends a wild college comedy with dramatic social  commentary | WBUR News

There is something so captivating yet hilarious about Emergency and it’s beginning to become difficult to pinpoint the specific beauty of this film as the traits blend together. How can a film be so entertaining yet also touch on social issues in such a visceral manner without crossing a threshold into the over-the-top territory? And the key is competent writers and directors with a vision to clear a path towards effective execution. Williams and Dávila, two soulful artists, construct a film that effortlessly yet realistically puts into perspective life as youthful college students and being a person of color in a society that is constantly challenging the sense of safety for those born with dark skin. The writing alone should be commended as it perfectly nails youth culture and how those born in this new generation genuinely think and sound. It is absolutely amusing to watch any character in the film interact or spout dialogue in a relatable fashion, Dávila is an extremely talented writer, and it should be quite interesting to observe the projects she’ll work on next.

Along with the writing, the cast line-up for the film is a knockout for this type of material, featuring a dynamite charisma between our two protagonists and the comedic timing from the ensemble as well. Donald Elise Watkins (Black Box, Free State of Jones) portrays one of our protagonists Kunle, a book smart academic looking to make his way into a field of science, but although Kunle yearns to continue on the path of academic success, he is best friends with his polar-opposite Sean. RJ Cyler (The Harder They Fall, White Boy Rick) plays our street-smart protagonist that sticks alongside Kunle at all times. Watkins and Cyler prove they are a duo to be messed with, as the two-trade line after line with each other smoothly and comically. But what I find more impressive is their ability to transition from comedy to smacking you in the face with deep-rooted dialogue, focusing on the sheer tension built from the beginning. 

Emergency (2022) - IMDb

And not only that but the way social issues are touched on in this film comes across so subtly because it is hidden beneath lines expressed comedically. The film treats audiences with respect by refraining from creating on-the-nose exchanges of conversations between characters, and it eventually pays off as the film slowly sinks into the murky waters that are the issues of society today. And the cinematography mixes fluently, implementing rack focus shots alongside closeup shots while also throwing in functional dolly zoom to create immense pressure when needed. Specific colors are emphasized to strengthen the overall quality but also the relevant aesthetic to assist in conveying the message of this film. The bountiful qualities within Emergency are perhaps overwhelming in a way, that the flaws that are scattered minimally throughout the film can be almost ignored for a majority of the film. Flaws such as inconsistent tonal shifts and some moments of dragged-on interchanges between characters. But as said before, this film admittedly contains so many special qualities that it is, frankly, undemanding to ignore said flaws. To throw out somewhat of a soliloquy, those watching this film will slowly begin to realize the many traits of Emergency is very reminiscent of Greg Mottola’s Superbad, but the beauty of the fact is that it turns Mottola’s comedic classic on its head in a very special way. 

And after you strip away the layers of this beautiful passion project of Carrey Williams, it is a love story between friends surviving in a society out for blood, perpetuating the fact that people of color lack security and safety. To quote the director, “I think this story is important to share because it’s the kind of relationship that we don’t see very often between two young black men, we have been conditioned to be tough, or show toughness at all times”. And that is exactly what is at the core of this film, peeling the surface back and revealing vulnerable, tender emotional interiors. There is much to enjoy when watching this film, with countless attributes surrounding every scene, tinges of alluring visual sparks light up the screen. Emergency is for those wanting a good laugh but also an emotionally intellectual sound film.