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King Ivory: A Well-Intentioned Cautionary Tale That Loses Its Way

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Director John Swab’s King Ivory—a street term for fentanyl that becomes both title and thesis—arrives with admirable ambition but ultimately stumbles under the weight of its own earnestness. Following its Venice Film Festival premiere in September 2024, this multi-narrative drug thriller from Saban Films and Roadside Attractions reaches for the sprawling, interwoven storytelling of Steven Soderbergh’s Traffic, yet struggles to justify its borrowed framework.

Swab constructs his narrative from interviews with law enforcement, addicts, and gang members, weaving together several desperate lives caught in the opioid crisis, particularly as it exist in the Tulsa, Oklahoma area of the United States. Ben Foster delivers a ferociously committed performance as George “Smiley” Greene, a prisoner who turns the tables on those who order him to kill Holt Lightfeather (Graham Greene), a gang leader inside. Foster’s work is the film’s dark heart—chilling from his first moments on screen, he inhabits the violence and desperation of his character with unsettling authenticity.

The ensemble spreads across familiar territory: James Badge Dale plays Layne West, an anti-drug task force leader whose son Jack (Jasper Jones) has succumbed to the very substances his father fights against. Michael Mando, capitalizing on his Better Call Saul credibility, portrays Ramon Garza, a coyote whose smuggling operation goes horrifically wrong when his human cargo suffocates—save for one young boy, Lago, who survives only to be consumed by the drug trade. Ritchie Coster rounds out the cast as Mickey Greene, an Irish gang member and addict who becomes an unwilling informant.

Curiously, the film features Oscar-winner Melissa Leo and Oscar-nominee Graham Greene in roles so abbreviated they feel almost ornamental—prestigious names deployed for gravitas they’re barely given time to earn, though both actors make the most of their limited screen time.

The film’s rhythm proves frustratingly uneven. Sequences focused on investigation, trafficking, and the machinery of the drug trade pulse with genuine tension and momentum. Yet whenever the narrative returns to Jack West’s deteriorating condition, the film grinds nearly to a halt. These scenes, meant to provide emotional stakes, instead feel laborious, building toward a conclusion so telegraphed it drains rather than deepens the film’s impact.

Swab’s rhetorical heavy-handedness becomes the film’s greatest liability. King Ivory wants desperately to be a statement, but its messaging contradicts itself—attempting to find nobility in every corner of its narrative, it inadvertently glamorizes the very world it means to condemn. The dialogue given to the film’s antagonists searches for moral complexity but often lands as apologia.

The climactic shootout—clearly aspiring to the operatic violence of Michael Mann’s Heat—feels unearned, a set piece the film hasn’t built sufficient momentum to justify. As the storylines converge in predictable fashion, we’re left with multiple endings that hammer home their point about America’s fentanyl epidemic with diminishing returns.

What ultimately undermines King Ivory isn’t its technique—the cinematography is appropriately gritty, the editing sharp—but its emotional hollowness. We observe these shattered lives without truly investing in them. Some characters receive inexplicable mercy while others meet brutal ends, and the film’s moral calculus feels arbitrary rather than earned. The easy exits granted to certain characters and the punishing fates dealt to others fail to cohere into meaningful commentary.

Yet there’s something almost honest in that frustration. Perhaps Swab succeeds precisely where the film feels most incomplete—in capturing the futility and circularity of the drug war itself. The attention never quite wavers, the craft remains evident, but that nagging sense of purposelessness may be King Ivory‘s most authentic achievement. We’re left not with catharsis but with exhaustion, and in that, at least, the film mirrors its subject matter with uncomfortable accuracy.

King Ivory opens November 14, 2025, in theaters nationwide.


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Movie Reviews

THE ODYSSEY – Tragedy of Choppy Continuity

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Written/Directed by Christopher Nolan
Cast: Matt Damon, Tom Holland, Anne Hathaway, Robert Pattinson, Lupita Nyong’o, Zendaya Charlize Theron, Samantha Morton, Jon Bernthal
Synopsis: Following the Trojan War, Odysseus, the legendary Greek king of Ithaca, recounts his grievous quest encountering mythical beings – the Cyclops, Polyphemus, Sirens and the nymph Calypso – while attempting to reunite with his wife, Penelope.

Christopher Nolan, known for winning two Academy Awards (Best Director and Best Picture) for Oppenheimer (2023) among his other popular works, Interstellar (2014) and The Dark Knight Trilogy, took the risk of filming his new movie The Odyssey in IMAX format. What might have been a good idea in the early stages of the process, this approach has its detriments that affected his creative outcome. Due to the limited filming material, each scene is captured in 2-3 minute increments. This method of cinematography did not allow for the actors to breathe and unfold their characters – making the movie a patchwork collection of disjointed scenes.

There are many diversions from the narrative by placing focus on the majestic, beautiful scenery, Greek structures and the Trojan horse that is in a nontraditional pose from being on all fours. Between Matt Damon’s narration and the dialogue-free scenes, it felt like watching a National Geographic documentary—filled with sweeping views of rugged waves upon the sea, rocky hills, and rich historical backdrops.

The all-star ensemble, many who have worked on Nolan’s previous box office hits, appeared uncomfortable and rushed to regurgitate their lines rather than inhabiting their roles. This could be the result from the filmmaking style approach – not allowing space for character expansion and falling short of expectations.

Anne Hathaway and Tom Holland carried brief solid performances, though their appearance ultimately was less of a memorable impact. However, from the entire cast, there are only two standouts which came from Samantha Morton and Robert Pattinson, both of whom fully understood their roles and delivered exceptionally well. They elevated the material despite the constraining production design.

The peak of this lengthy film arrives in the final last moments—a masterclass in pure, dialogue-free action. Is it worth the 3 hour wait for an explosive finale? No, not really. The Odyssey is the Cliff Notes version of the legendary Greek tale. The production lacked narrative depth, resulting in an incomplete experience.


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Movie Reviews

EVIL DEAD BURN – The Flames of Vengeance Burns Hotter

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Directed by Sébastien Vaniček

Written by Sébastien Vaniček, Florent Bernard

Starring: Souheila Yacoub, Tandi Wright, Hunter Doohan, Luciane Buchanan, Erroll Shand, Maude Davey

Synopsis: Following her husband’s death, a woman turns to her in-laws for consolation at their secluded family home. She discovers the family has been possessed by an ancient demonic spirit that converts them into Deadites and learns that their wedding vows extend beyond the grave.  

Spawning from the Evil Dead series, Evil Dead Burn is the sixth film to arise from the generational curse that continues to haunt the Williams’ bloodline. Through a brave thematic lens, screenwriters Sébastien Vaniček and Florent Bernard utilize the narrative framework examining the psychological fortitude required to resist domestic abuse and rebuild a self-determined life. Blending this heavy theme with horror filmmaking hooks the audience and keeps the iconic franchise vastly relevant. It’s the flames of vengeance that burns hotter.

The performances by Souheila Yacoub and Hunter Doohan, unfortunately, cooled down the film – it felt simmered without ever reaching a boiling point. The overall cast struggled to carry the weight of the plot and relied on scenes with the shock factor to provide narrative momentum. My expectations were high for Yacoub and Doohan, given their track records in major hit movies and TV shows.

To pick up the heat, the film delivers numerous intense, ooey gooey, blood splattering scenes that showcase highly creative thriller concepts. Though at times, the film pushes the gore to ridiculous extremes to the point that it diminishes the overall ability to sustain genuine dread.

Since it’s a Warner Brothers’ production, they catered to their fanbase by keeping the seats warm with several sequences of intentional throwbacks and flashbacks referencing their classic horror catalog: Friday the 13th, The Exorcist , The Shinning,  Poltergeist, and my personal favorite, Gremlins – Mrs. Deagle’s remote staircase chair. Surely there are more, but these were the clear highlights for me.

The storyline’s undertone of Evil Dead Burn has the heat and is acceptable on a baseline level, but it lacks the magnetic screen presence and energy vortex that drives the best genre cinema.

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Movie Reviews

THE DEATH OF ROBIN HOOD – A Silently Powerful Deep, Dark Drama

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Written, Directed by Michael Sarnoski
Starring: Hugh Jackman (Robin Hood), Jodie Comer (Sister Brigid), Bill Skarsgård (Edward/Little John), Murray Bartlett (The Leper), Noah Jupe (Arthur)
Synopsis: A rugged, guilt stricken aged Robin Hood emerges from exile after being severely wounded, finding sanctuary and forming an unlikely companionship inside a secluded monastery.

Michael Sarnoski transformed one of the oldest existing tales, Robin Hood’s Death, into a grim and somber film that leans on visual storytelling over spoken dialogue to convey its deep emotional weight. The Death of Robin Hood is an interesting story that gradually crescendos to its peak. The narrative follows a man tormented by his past actions, caught in a paralyzing cycle of regret and bitterness that hardens him into a harsh, resentful figure.

Those expecting the high-energy action from Hugh Jackman’s typical roles will be disappointed and perplexed with scenes that linger and feeling empty. The minimal action does have a maximum impact. By stripping away unnecessary dialogue, the film creates a direct pipeline to the character’s innermost thoughts. Alternatively, the dramatic perspective of Robin Hood simmers on the process of the dark haunting themes reflective within its visual aesthetics.

Hugh Jackman is extremely versatile with his approach on his role giving internal conflict and grittiness to Robin Hood. This is truly one of his most exceptional performances, perfectly displaying his incredible capabilities. All the while, his co-stars Bill Skarsgård, Murray Bartlett, Noah Jupe and Jodie Comer brought out an immensely profound emotional depth to their respective characters. The impressive, talented cast are the heart and soul of the picture, making it silently powerful.

Despite its slow tempo, if you appreciate the English folklore, the obscure melodramatic tale of The Death of Robin Hood is worth a watch.

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