“Emergency” Review!

Director: Gary Williams

Writer K.D. with "Emergency" director Gary Williams. Davila has a strong backbone in RJ Sailor's acting, but when it comes to unstable actors like Donald Ellis Watkins, the tone of the film is unbalanced. As a dark college joke with racist themes, the “emergency” would rise. But there is no need to say anything special as it is a film that deals mostly with black youth. That being said, the film is very entertaining and critical, and the dramatic elements of the story are finally beginning to come together.

As Sean (Sailor) and Kunley (Watkins) prepare for the college final dinner, an unexpected surprise awaits them both at home. They approach their porch and notice that the door is open. Inside was a white woman, half-naked and completely paralyzed by alcohol. Kunley wants to call the police, and Sean asks them to remember that they are black, which sounds bad. Eventually, they stopped the party and decided to take her to the hospital. She finally gets in the car and starts attacking them, thinking she has been kidnapped. When Sean and Kundli realize that the girl's friends are on the verge of kidnapping, they are under pressure to erase their names from the missing crime.

The "emergency" comes down to shocking results. Many movies are incomplete, but there is no denying the emotional number that each character eventually goes through. "Emergency" closes what seems like a happy ending. Watkins learned something new about the character being black, and his friendship with the sailor scene was redefined in a good light. But the brilliance of Williams' movement is that it deceives one that it is a film about race. The final stage of the film is simple but stunning. A young black man enjoys the fruits of his labor with a smile. The sirens start ringing, but he does not ring. In the same shot, Kunli's face fell and the audience saw him smiling. It is a reminder that the police have been hunting down black America from the beginning.

In "Emergency", the RJ sailor is very attractive and plays a subtle character who holds all his cards to his chest until the end of the movie. Donald Ellis Watkins, on the other hand, portrays an innocent genius who is not desirable. Unfortunately for the audience, the film focusing on the sailor would be great. The film stumbles upon scenes in which Watkins eagerly tries to tap the horrible pages of his blackness. Although not on the same level as Watkins Sailor, the screenplay fails both.

Dramatic parts of the film can sometimes feel like a stretch. The main contradiction between leads is how black is defined. Since the movie takes place overnight, it seems unbelievable that within hours someone would rethink their racial identity. Also, Watkins and Sailor are seen arguing over and over again without realizing it. There’s a lot of flesh in the bone of the film, but ironically, it’s not always dramatic. There are jokes in "Emergency" but they will not live long. The film is not long, with only less than ten episodes, yet the screenplay forces us to reconsider the arguments already made instead of the comedy scenes.

One has to take from the "emergency" that if blacks succeed in exploring the relationship between whites and the police, it will be examined. If the audience thinks that "emergency" is exaggerated and entangled in too many ideas about progress, that also makes sense. Anyway, the movie starts hot and the pitch ends in a perfect finish, but one's patience can vary in everything between that. "Emergency" has no ups and downs, different lenses give the same task to both leads, and are not dynamically constant in the motion of an image.

Please watch the trailer: