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?

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Culture

Film & TV

Politics

Royalty

11 November 2024

2 min read

Would you rather live in Wolf Hall?

Monarchy and deciding who's really in charge.

Jack Chisnall

Jack Chisnall is a former gag teller and Oxford Theology graduate, combining the two at Holy Fooling.

A TV production set shows Henry VIII at a masked ball.

Daniel Day-Lewis digs his claws into the role of Henry VIII.

BBC.

Viewers of Wolf Hall: The Mirror and the Light may well have breathed a sigh of relief: thank goodness we don’t live in such times. Henry VIII, depicted by Damian Lewis with lionesque intensity, flexes and pouts at his Privy Council, prepared to send even his own daughter to the axeman’s block. He is unimaginably powerful, capricious, and easily offended.

Meanwhile, almost four-thousand miles away, we have just witnessed a democratic election in a nation which wanted nothing to do with kings. Donald Trump has won a second term in the White House - whatever one thinks of him, a sitting President is contained by counterpoised checks and balances. Congress. The Supreme Court. Here, at least, are some features that would have usefully reigned in Henry VIII’s absolute power.

Kings are perhaps cutting a rather pathetic figure right now, even without a sulky, fur-clad Damian Lewis to damage their PR. A few weeks ago, King Charles was heckled by an Australian Senator during a trip to Parliament: “not my King!” yelled Lidia Thorpe. Lately, King Felipe VI of Spain had dirt hurled at him as he walked through Paiporta, to examine the damages of recent floods. So much for a royal welcome.

So, is this just the way things are going? Farewell to tyrants. Humiliated, shouted at, mud-splattered and powerless - will we finally decommission them like old submarines?

But the question of “who’s really in charge here?” is one that all human societies have to face squarely. For our ancestors, there had to be something real behind a legitimate government. It could not just be a useful or appropriate way of organising ourselves - there had to be something copper-bottomed to give authority its clout. Only the gods could prop up a leader. In the pagan world, a philosopher like Aristotle would add that it is just the case that some people rule, some are ruled.

The UK constitution - though few would speak of it in this way - is premised on the idea that the King represents the people of this country to God, who alone can vouchsafe his legitimacy. A monarch in this sense is not absolute. They are contained - contained by the most comprehensive and eternal power that can be conceived. No tyrant gets away with it, on the Christian view.

All societies seek this real basis to power, whether that is “self-evident truths”, or the “will of the people”. The question is: which of them provide for a flourishing community for the longest? King Felipe may have been abused, but he did not flee to the refuge of a car like the Prime Minister. Here was a man of immense privilege reaching out to his subjects. Despite their pain and anger, he wanted to show he really cared - indeed, that he was born to care. For as long as monarchies seem like a reasonable and compassionate answer to the issue of legitimate government, they may endure yet.