Crescent City Review: A Disjointed and Derivative Crime Thriller

Crescent City, directed by RJ Collins and written by Rich Ronat, is a crime thriller that promises to weave a tale of suspense, intrigue, and psychological torment. Unfortunately, what it delivers instead is a muddled narrative, underdeveloped characters, and a plot that is both predictable and uninspired. Despite a seasoned cast, including Alec Baldwin, Esai Morales, Terrence Howard, and Nicky Whelan, the film fails to rise above its clichés and ultimately becomes a forgettable addition to the genre.

A Promising Premise Squandered

The film is set in a small Southern town that becomes the hunting ground for a ruthless serial killer. The killer’s heinous acts quickly unsettle the town’s peace, and as the body count rises, paranoia takes hold. The premise, on paper, is compelling. A community gripped by fear, where everyone could be the killer, has the potential to create an atmosphere of dread and uncertainty. However, Crescent City squanders this potential by failing to execute its premise in a way that feels fresh or engaging.

From the outset, the film struggles to find its footing. The pacing is erratic, with scenes that drag on unnecessarily, interspersed with moments that feel rushed and underdeveloped. The film’s opening sequence, meant to establish the killer’s brutality, is more confusing than terrifying, setting the tone for the disjointed storytelling that follows. A narrative lacking cohesion throws the audience into disarray, making it hard for them to invest in the mystery or the characters’ fates.

Underdeveloped Characters and Half-Hearted Performances

The cast of Crescent City is undoubtedly talented, but they’re given little to work with in terms of character development. Alec Baldwin plays Captain Howell, the chief detective tasked with solving the murders. Unfortunately, Baldwin’s performance feels half-hearted and uninspired. Known for his ability to portray complex characters, Baldwin is hindered by a script that renders Howell a one-dimensional figure haunted by a past that’s alluded to but never fully explored. This lack of depth makes it difficult to empathize with him or understand his motivations, reducing him to little more than a plot device.

Esai Morales, as the local police officer Luke, and Terrence Howard, as Brian, a journalist covering the murders, fare no better. Despite their professionalism, both characters are so thinly written that they become nearly indistinguishable. Luke is the archetypal disillusioned cop weary of violence, while Brian is the determined reporter chasing the truth—roles that have been done countless times before without Crescent City offering anything new.

Nicky Whelan’s character, Jaclyn, a local resident with a mysterious connection to the killer, is the most intriguing among the main cast but is sadly underutilized. Whelan brings a sense of vulnerability and intrigue to the role, yet her character is relegated to the background, appearing only in scenes that advance the plot rather than developing her as a person. This treatment reflects the film’s overall focus on plot progression at the expense of character development.

Predictable Plot and Technical Shortcomings

One of the most disappointing aspects of the film is its predictability. The film is highly predictable due to its adherence to crime thriller conventions.

The film also suffers from a lack of originality. It borrows heavily from other, more successful thrillers but fails to bring anything new to the table. The trope of a detective haunted by his past is a staple, but Crescent City does nothing to subvert this. The film’s plot and Captain Howell’s backstory share clichéd elements.

The film’s climax, which should be a culmination of the tension that has been building throughout, falls flat. The final confrontation lacks intensity and feels rushed. It’s as if the filmmakers were eager to wrap things up as quickly as possible. This hurried resolution leaves several plot threads dangling and fails to provide a satisfying conclusion to the story.

From a technical standpoint, Crescent City is equally underwhelming. The cinematographer produces uninspired visuals, bland and washed-out. It fails to capture the eerie atmosphere the film is clearly aiming for. The Southern town should have its own character, rich in history and mystery. But the film’s lackluster production design and poor use of location prevent it from ever coming to life.

The editing is another major issue. The film jumps between scenes and timelines in a way that feels haphazard. This makes it difficult to follow the narrative or understand the relationships between characters. The killer’s moments meant to build tension or provide insight are frequently interrupted. Or, sometimes, they’re placed awkwardly within the sequence of events, further contributing to the film’s disjointed feel.

Overall:

Crescent City is a film that fails to deliver on its potential. What could have been a gripping and atmospheric crime thriller is instead a derivative and forgettable entry into the genre. Thinly written characters, a predictable plot riddled with clichés, and subpar technical execution waste the talents of the cast. While fans of crime thrillers might find some small enjoyment, Crescent City is ultimately a disappointing and lackluster experience.