Review

Culture

Film & TV

Justice

Race

18 September 2024

6 min read

Rebel Ridge switches the code on corrupt coppers and body counts

An action movie tackling the all-time low trust in public bodies.

Krish Kandiah

Krish is a social entrepreneur partnering across civil society, faith communities, government and philanthropy. He founded The Sanctuary Foundation.

Two men stand off against each other, one holds a holstered gun.

Don Johnson and Aaron Pierre.

Netflix.

I wasn’t expecting to emotionally connect with this straight-to-Netflix action movie but Rebel Ridge is not a normal action film. It may be sitting at the number one position on the Netflix film charts, with its echoes of a classic Jack-Reacher-style thriller, but where it surprises and stands apart is in its challenging and nuanced handling of race, violence and corruption.

Race

Like Lee Child’s character Jack Reacher, Terry Richmond played by Aaron Pierre is a former US military officer. He is a private person, self-confident, respectful, comfortable with his own company and willing to go the extra mile to help a cousin who has got himself in a mess. Despite his lowly job in a restaurant, Terry happens to have financial means as well as expert survival and hand-to-hand combat skills. He is also Black.

The opening sequence shows Terry cycling into a small town when he is accosted by two local – white - police officers. Suddenly the dynamic changes. The determined, self-confident, resourceful man becomes the downtrodden object of a series of abuses and injustices. Terry tries everything to deescalate the problem, without success. Nevertheless, he remains polite, referring always to the officers who deal with him as “Sir”, and finding things to thank them for.

I found myself relating to this, remembering times that I have had to deal with abusive power and hoping that if I remain calm, polite and respectful, I could win the other side over. Some have called this “respectability politics” – the pressure on marginalized groups, particularly Black people, to behave in a manner that aligns with dominant cultural norms - including being overly-polite or restrained - especially in the face of abusive power or injustice. Another term for this is "code-switching," where minority groups feel the need to adjust behaviour, language, or appearance to fit into a different cultural context, often in response to systemic power imbalances.

Terry tries everything to get out of his situation with minimum disruption. But things deteriorate so far so quickly that Terry realises that nothing he can say or do will allow him to extricate himself. Cornered in this way, he is forced to pursue justice by other means.

It is hard not to see this film without remembering the death of George Floyd. That terrible incident in May 2020 highlighted racial disparities in policing in the US: 13 per cent of the American population is Black, yet they account for about 25-28 per cent of police killings each year. According to the Mapping Police Violence project, Black people are up to three times more likely to be killed by police than white people - between 2013 and 2022, about 7,000 Black Americans were killed by police.

The UK’s police services have had to admit to similar disparities. Black people are seven times more likely to be stopped and searched compared to white people in England and Wales. In London, where stop-and-search powers are more frequently used, Black individuals make up around a third of all stop and searches, despite representing about 13 per cent of the city's population. From arresting, handcuffing, the use of taser, remanding in custody and more, data shows that racial disparities are evident across the service. These disparities undermine trust in the police service, which in turn can inhibit the cooperation and information sharing needed to reduce crime and protect citizens.

The racial tensions that permeate the movie give viewers a glimpse into what it is like to be mistrustful of those who are supposed to help and serve us. As such it is a masterpiece in raising awareness of racism wherever it is experienced, and the fear and injustice that go with it.

Violence

Terry is huge, athletic and highly skilled. Like most movies of this genre, I was expecting the protagonist to be pushed to breaking point, thereby unleashing a wave of violence so severe and overwhelming that he becomes an unstoppable killing machine.

In Taken, Bryan Mills, played by Liam Neeson, kills almost 100 people, mainly of Albanian nationality, by gunfire, strangulation and electrocution, on his quest to protect his family. In the more recent John Wick series of films, Wick, played by Keanu Reeves, a retired assassin, kills over 400 people in a wave of violence initiated by the theft of a car and the killing of a puppy.

But Rebel Ridge is different. A key thread in the movie is the use of Escalation of Force–Non-Lethal Effects (EoF-NLE), meaning the use of verbal warnings, warning shots, non-lethal explosives and physical restraint tools like tasers or pepper spray that are supposed to minimise the risk of injury and death. In the film, the corrupt police officers have not only illegally raised money to buy this equipment they have also profited from renting out their EoF-NLE to third parties.

Terry shows himself to be a different kind of hero, with a stronger moral compass than the police service as he uses their own EoF-NLE against them. On one occasion we watch as he loads and racks his gun, only to use it in self-defence. He is an avenging angel unleashed who refuses to kill people. There are plenty of showdowns, but the final total body count is one.

Corruption

Many action movies, Taken and John Wick included, contain little social commentary. Rebel Ridge, on the other hand, is prepared to tackle some significant social issues. The corruption around EoF-NLE and militarisation of local police forces is one example. The other questionable practice that gets much discussion is “civil asset forfeiture” - an anti-drug regulation that allows a police officer to seize cash and other valuables with no due process. Both issues as portrayed in this film highlight the wider question of accountability of policing, as well as the potential for corruption that comes with its absence.

Indeed, it's not just about ‘bent coppers’ – the whole justice system is shown to be at risk in this film. The local judge is implicated in the corruption, and the state prison, as expected, fails to protect. The impact is pervasive. We see a conflicted black female police officer, a court worker struggling to get court support, and many others who stand idly by because they don’t seem to know what is right or good anymore.

At a time when trust in public bodies is at an all-time low – this film, despite its non-violent and subversive tropes, presents to us a heroic rebel with a higher moral compass who goes against the flow and pushes back against the system to try and fix things. It may not restore faith in our society’s institutions – but perhaps it does restore faith in something else.

Although the director, Jeremy Saulnier, claims Rebel Ridge was not based on a true story, I cannot help thinking of a true story that might have inspired it. I am reminded of Jesus Christ, the most famous rebel in history, who was killed in a showdown on a ridge outside Jerusalem for speaking out – lashing out even - against the corruption in the religious institutions of his time, for taking an anti-racist stance, and for living in a way that went against the flow. It reminds me of the lengths he went to get those he loved freed from the mess they had gotten themselves into, and the price he paid to try and save them from certain death. Like Rebel Ridge, the ending to that story remains open: who will take up the call and will true justice ever be served?

Review

Addiction

Community

Culture

Film & TV

13 May 2025

4 min read

This City is Ours – truth and lies about the global drugs trade

The drug-dealing family drama reflects the impact of the drugs world.

Henry Corbett

Henry Corbett, a vicar in Liverpool and chaplain to Everton Football Club.

Family saga.

BBC.

I asked a thoughtful Scouser and cinephile “What do you think of This City is Ours? – the crime drama TV series set in Liverpool. I wondered if he would hate all the talk of drugs, the power games, the violence and that the series about a global trade is located in our city.

“Well, it’s true.”

As a priest in Liverpool, I have taken the funerals of drug dealers and users, including one where the family quoted me Jesus’ saying, “Those who live by the sword will die by the sword.” I have known too many people caught up first in the heroin trade of the 1980s and then more recently with cocaine.

I agreed that the series is truthful, and on many levels. Those involved in the criminal world of illegal drugs are still people.

I remember Peter (not his real name) who I knew when he was a young lad in the youth club I helped with. He was sitting in our kitchen with a mug of tea. He had bruises all over his face because of a drugs debt he hadn’t paid. One of my daughters came in to get something out of the fridge, and Peter apologised to her for the state of his face, explained it was because of being involved in drugs, and advised her strongly against it. He then asked after her interests and what she enjoyed and was ‘made up’ – happy - when she spoke of liking art. My daughter never forgot that conversation. She learned that people in the drugs trade were still people and could be kind, and that the illegal drugs world was to be avoided. People are both made in the image of God, capable of love and concern, and also flawed and able to be drawn into a trade that affects people so badly across the world.

So, the eight episodes of the first series of This City Is Ours show that the global criminal world of illegal drugs is brutal, violent and full of jeopardy. There are chilling deaths, executions, and vengeance. All truthful to that world. There are power struggles and a vicious family succession battle too. But there are also scenes of the same family at the dinner table, of the longing for a baby with a girlfriend who is very much loved. One moment a character is a hard-hearted killer and the next moment a tender partner. That is so truthful to the different compartments that people can live in: someone can be a loving son who cares for their mother and a ruthless power-hungry toxic gangster.

The consequences of that unnecessary “necessary” action are tragic.

A further truth that I see at every funeral is the ripple effect on partners, siblings, parents, the wider family, and friends, and outward across the community. Every episode of the show features family members: some in the gang, some outside the gang, some wanting a cut of the lucrative proceeds, others desperate to get out from this dangerous, chilling world. What we do can massively affect others close to us. So often family and friends, and a community, must live with the consequences of actions taken in a criminal underworld they are often excluded from and fearful of. Even young children can be affected and dragged into a battle for power.

So, there are truths, but what about the lies? Here’s two stand outs:

“Are we safe?” “Yes, babe.”

We know they are not safe. Definitely not. There’s a target on your back, and often on the family’s back as well.

And the second:

“It was necessary”. Or “f***ing necessary”.

No, it wasn’t. He didn’t have to become engaged in a succession struggle for power, money, and control. He didn’t have to kill someone he looked up to, respected, even loved. The consequences of that unnecessary “necessary” action are tragic.

Then there is the third lie about loyalty and trust. That false sense of being in a gang that will look after you and look out for you, that will secure your future and give you a sense of being someone who counts. From early on, this series shows that people are expendable, can be shot and tossed over a cliff, and that person you looked up to may be an informant to the police. That is maybe how they have stayed out of prison.

A fourth lie the series so truthfully nails is the notion that it is easy to walk away once you have seen through the attractions of money, of Spanish villas, of designer gear, of fragile power. It very often isn’t. You may desperately want a worthwhile life that brings good not bad, peace not killings, a freedom from looking over your shoulder and from a troubled conscience. But there may be money demanded by your supplier, there may be enemies you have made along the way. I have known people successfully move away from it all but that has often only been after a spell in prison, and with a sound alternative - whether a job to keep, a daughter to look after, or a move away.

Wisdom is a much-valued quality throughout history. Five of the Bible’s 66 books are often called Wisdom books and Jesus called Christians to be “wise as serpents and innocent as doves.” This City is Ours is beautifully shot, expertly scripted, brilliantly acted, and it truthfully lifts the lid on the world of the drug-dealing criminal underworld and on some of the lies peddled in that world. And I did explain in the funeral service that when Jesus said “Those who live by the sword will die by the sword” he was not recommending that way of life but warning against it.