Little Dixie (2023) is disappointing on several levels.
As an action movie fan, I'm generally willing to watch any film starring Frank Grillo, Michael Jai White, or Scott Adkins - three actors who are capable martial artists and credible actors, but who have generally been limited to low-budget films and minor roles in major productions. My favorite Grillo film is Boss Level.
Little Dixie is my least favorite Grillo film. It's a low-budget production. There are no car chases, pyrotechnics, elaborate CGI, or large crowd scenes, but production values are adequate to its modest ambitions. There are a few gaping holes in the plot, which can be ignored if one is willing to sit back and enjoy the ride. However, the script is weak. Much of the plot is predictable. Some characters are duplicitous, but largely one-dimensional with no appreciable character arcs. Dialogue is a bit on the nose and heavy on exposition.
Grillo's Doc is not a sympathetic character. He's some sort of facilitator who works with a Mexican drug cartel and corrupt U. S. politicians, but we don't see this work. He transforms effortlessly into a ruthless, coldly efficient, unstoppable killing machine, but we never see what Blake Snyder calls a save-the-cat scene, other than a symbolic action on a pier near the end of the film. In Assassins, Stallone's Rath grants a victim's request. The assassin in Babylon allows one of his assigned targets to flee the country. In Inglourious Basterds, Waltz's Landa allows Shosanna to escape. Doc doesn't have a moment of kindness. To the contrary, he seems unaffected by the extensive collateral damage he causes.
There is no love story, only Doc's affection for his daughter Nell, but there seems to be little genuine chemistry between the actors. Nell isn't an interesting character and her only potentially interesting action is off-screen.
Chekhov wrote, "If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off." Doc purchases several firearms which he never seems to use, although he does use the item that is given special significance.
A huge distraction in many recent films has been the filmmakers' insistence on wearing their wokeness on their sleeves, usually to the detriment of the film. This is particularly incongruous in actions films which are typically far removed from woke ideology, and often feature concealed automatic weapons, enhanced interrogation techniques, extrajudicial executions, illegal wiretaps, facial recognition, muscle cars, private jets, and other politically-incorrect environmentally-hostile elements.
Little Dixie inserts several woke elements which seem so awkward and incongruous that one wonders if the filmmakers weren't deliberately or subconsciously railing against woke mandates.
Genre fans would expect Doc's ex-wife to be a matureBond girl, or perhaps a duplicitous femme fatale, like the dental hygienist in Boss Level. That the filmmakers would try to fill their diversity quota by casting a black actress is not surprising, but instead of a Thandiwe Newton or Zoe Saldana, they cast a shrewish soccer mom who doesn't look the least bit like the daughter and has no positive energy with Doc.
Rather than the typical strip-club scene, we have a scene at a gay bar featuring a singing competition among cross-dressing contestants, which devolves into a truly cringeworthy bedroom scene that ends predictably badly.
A minor character is a lesbian, while two others seem to be homosexual males for no particular reason, other than diversity. As the villains are Mexican drug dealers, there are numerous Latinos. But Asians seem conspicuously absent.
There are only a couple of brief martial arts scenes. Doc is supposedly some sort of manipulator who masterminded a huge smuggling operation. But we don't see him planning, negotiating, using the skills he supposedly has. Instead, he is a very blunt instrument. Against the backdrop of a modest production, the woke virtue signaling is especially distracting.
As an action movie fan, I'm generally willing to watch any film starring Frank Grillo, Michael Jai White, or Scott Adkins - three actors who are capable martial artists and credible actors, but who have generally been limited to low-budget films and minor roles in major productions. My favorite Grillo film is Boss Level.
Little Dixie is my least favorite Grillo film. It's a low-budget production. There are no car chases, pyrotechnics, elaborate CGI, or large crowd scenes, but production values are adequate to its modest ambitions. There are a few gaping holes in the plot, which can be ignored if one is willing to sit back and enjoy the ride. However, the script is weak. Much of the plot is predictable. Some characters are duplicitous, but largely one-dimensional with no appreciable character arcs. Dialogue is a bit on the nose and heavy on exposition.
Grillo's Doc is not a sympathetic character. He's some sort of facilitator who works with a Mexican drug cartel and corrupt U. S. politicians, but we don't see this work. He transforms effortlessly into a ruthless, coldly efficient, unstoppable killing machine, but we never see what Blake Snyder calls a save-the-cat scene, other than a symbolic action on a pier near the end of the film. In Assassins, Stallone's Rath grants a victim's request. The assassin in Babylon allows one of his assigned targets to flee the country. In Inglourious Basterds, Waltz's Landa allows Shosanna to escape. Doc doesn't have a moment of kindness. To the contrary, he seems unaffected by the extensive collateral damage he causes.
There is no love story, only Doc's affection for his daughter Nell, but there seems to be little genuine chemistry between the actors. Nell isn't an interesting character and her only potentially interesting action is off-screen.
Chekhov wrote, "If you say in the first chapter that there is a rifle hanging on the wall, in the second or third chapter it absolutely must go off." Doc purchases several firearms which he never seems to use, although he does use the item that is given special significance.
A huge distraction in many recent films has been the filmmakers' insistence on wearing their wokeness on their sleeves, usually to the detriment of the film. This is particularly incongruous in actions films which are typically far removed from woke ideology, and often feature concealed automatic weapons, enhanced interrogation techniques, extrajudicial executions, illegal wiretaps, facial recognition, muscle cars, private jets, and other politically-incorrect environmentally-hostile elements.
Little Dixie inserts several woke elements which seem so awkward and incongruous that one wonders if the filmmakers weren't deliberately or subconsciously railing against woke mandates.
Genre fans would expect Doc's ex-wife to be a matureBond girl, or perhaps a duplicitous femme fatale, like the dental hygienist in Boss Level. That the filmmakers would try to fill their diversity quota by casting a black actress is not surprising, but instead of a Thandiwe Newton or Zoe Saldana, they cast a shrewish soccer mom who doesn't look the least bit like the daughter and has no positive energy with Doc.
Rather than the typical strip-club scene, we have a scene at a gay bar featuring a singing competition among cross-dressing contestants, which devolves into a truly cringeworthy bedroom scene that ends predictably badly.
A minor character is a lesbian, while two others seem to be homosexual males for no particular reason, other than diversity. As the villains are Mexican drug dealers, there are numerous Latinos. But Asians seem conspicuously absent.
There are only a couple of brief martial arts scenes. Doc is supposedly some sort of manipulator who masterminded a huge smuggling operation. But we don't see him planning, negotiating, using the skills he supposedly has. Instead, he is a very blunt instrument. Against the backdrop of a modest production, the woke virtue signaling is especially distracting.