Film Review - The Skin I Live In
Saturdays with Siskel & Ebert - Cocoon / D.A.R.Y.L. / Return to Oz (1985)

Film Review - The Son of No One

SON OF NO ONE Channing Tatum

With 2005’s “A Guide to Recognizing Your Saints” and 2009’s “Fighting,” writer/director Dito Montiel showed interest in detailing the seedy underbelly of life in New York City, soaking up the heart and soul of a violent metropolis. Unfortunately, he’s constructed two decidedly underwhelming pictures, each falling well short of their poetic intentions. A third effort, the cop drama “The Son of No One,” joins the group, forming a trilogy of mediocrity, finding Montiel swinging wildly to capture an elusive tonality of vulnerability, which always slides into excessive melodrama. The toxic textures of the city are firmly in place, but the rest of this movie flounders, focused too intently on heavy thespian articulation and a central mystery that’s solved by the start of the second act.

In 1986, young Jonathan White (Jake Cherry) accidently killed a menacing crackhead inside the Queensboro Projects, an act of violence that was quickly followed by another death, leaving the boy and friend Vinnie (Brian Gilbert) traumatized. In 2002, Jonathan (Channing Tatum) has become a police officer in the wake of 9/11, assigned to protect the very area he ran away from long ago, doing his best to stay alert for his wife (Katie Holmes) and sick daughter. When a local journalist (Juliette Binoche) begins printing letters sent from an anonymous source claiming information about the 1986 murders, it rocks the precinct and the community, leaving Jonathan on edge about the identity of the informant. Tasked by his suspicious captain (Ray Liotta) to uncover the mysterious irritant, Jonathan’s mind races back to his past, recalling comfort from Detective Stanford (Al Pacino), while finding Vinnie (Tracy Morgan) in a state of psychological disrepair, leaving the cop with no one to turn to.


“The Son of No One” carries a nervous energy, with paranoia flowing through the movie as Jonathan finds himself hounded by memories and threats, unable to trust anyone. Montiel takes special care with that sensation of paralysis, using it to construct a police procedural thriller with an oppressive emotional hold, not taking an interest in precise levels of suspense, but the reverberations of guilt and fear. Utilizing a consistently droning score and thick NYC atmosphere, Montiel is doing his finest impression of a Spike Lee feature with “The Son of No One,” looking to excavate a sincerity of feeling that holds a more profound position than any collection of cheap cop film clichés. The ambition is laudable but the execution is lifeless. Once again, Montiel is lost inside of his own head, fumbling the needs of his story by concentrating on internalized strife that maintains little appeal.

At the core of “The Son of No One” is a mystery. Who’s writing the messages? Who wants Jonathan to suffer for crimes committed such a long time ago? There’s a slight feel for suspense at times, creating tension in the precinct, where the tortured cop is deviously harassed by his superior and twitchy partner (James Ransone). Jumping back and forth between time periods, Montiel collects a convincing portrait of community insanity, making Jonathan’s actions more about defense and survival than murder, making his modern day silence coil with frustration. The anguish is convincingly established, yet drains of importance the more permissive the filmmaker becomes with the cast, who launch emphatic performances that often resemble Broadway auditions with all their gesticulation and indulgence (Binoche, a gifted actress, is wildly miscast as a hardened Queens newspaper editor), severing a required sense of realism to such a bleak premise.

SON OF NO ONE Tracey Morgan

Equally as destructive to the puzzle is an early scene where Jonathan’s wife is threatened over the phone. Anyone paying attention during the picture will be able to pick out the voice instantly, further eroding climactic revelations of troublemaking. Perhaps Montiel wasn’t interested in creating tension, yet his film is shaped like a traditional whodunit, employing a cast of extreme characters to keep Jonathan in the dark, trapped in a corner with his own demons. Giving up the villain so early cripples with little here passes for suspense. 

The fringes of “The Son of No One” are often more interesting than the story being sold. Ideas on the gentrification of the Queensboro Projects introduce community hostility, and a running theme on the erosion of post-9/11 police hero worship feels like an honest assessment of a city plagued with corruption and crime. The individual flavors are fascinating, but the feature as a whole feels fogged, attempting to communicate a persistence of shame in the most scattered, accommodating manner imaginable. In other words, it’s a typical Dito Montiel motion picture.







Verify your Comment

Previewing your Comment

This is only a preview. Your comment has not yet been posted.

Your comment could not be posted. Error type:
Your comment has been saved. Comments are moderated and will not appear until approved by the author. Post another comment

The letters and numbers you entered did not match the image. Please try again.

As a final step before posting your comment, enter the letters and numbers you see in the image below. This prevents automated programs from posting comments.

Having trouble reading this image? View an alternate.


Post a comment

Comments are moderated, and will not appear until the author has approved them.

Your Information

(Name is required. Email address will not be displayed with the comment.)