Name: Emergency
Genre: Comedy, Drama, Thriller
Released: 2022-05-20T00:00:00+00:00
Cast: Donald Watkins, RJ Cyler, Sebastian Chacon, Sabrina Carpenter, Maddie Nichols

The opening shot of Emergency (2022) is a shaky POV of a college party, the camera weaving through throngs of dancing students. It’s a vibrant tableau, but it’s also a setup for the moral tightrope Carey Williams’s debut feature will force its characters—and its audience—to walk.

What it is: A tense, often darkly funny thriller about three Black college students—Kunle (Donald Watkins), Sean (RJ Cyler), and Carlos (Sebastian Chacon)—who find themselves in a precarious situation after an unexpected encounter with a white classmate, Maddy (Sabrina Carpenter). The film’s central question: Do they call the police? It’s a scenario that feels ripped from headlines, but Williams resists turning it into a simplistic moral parable. Instead, he crafts something messier and more unsettling, a genre hybrid that blends social commentary with visceral suspense.

What works: The performances anchor the film, particularly Watkins, who delivers a career-best turn as Kunle. His quiet intensity and moral ambiguity make him a compelling protagonist, especially in scenes where his internal conflict is palpable. Watkins’s ability to convey deep emotion with subtle facial expressions and measured dialogue delivery is remarkable. In one standout scene, Kunle sits alone in the apartment, his face illuminated by the flickering light of his phone screen as he weighs the consequences of their actions. It’s a moment that underscores the film’s exploration of responsibility and fear.

RJ Cyler, known for his role in Me and Earl and the Dying Girl, brings a similar blend of humor and gravitas to Sean. His performance is nuanced, balancing the character’s comedic timing with moments of genuine vulnerability. Sebastian Chacon as Carlos provides a grounding presence, his performance marked by a quiet, steady resolve. The chemistry between the three leads is palpable, their dynamic feeling authentic and lived-in.

The film’s strength lies in its ability to balance tension with moments of levity. Williams’s direction is sharp, particularly in the film’s claustrophobic second act, which unfolds almost entirely within a single apartment. The tension builds methodically, culminating in a sequence that feels like a cross between Get Out and The Strangers. The sound design amplifies the unease, with sudden silences and distant noises heightening the sense of dread.

The film’s exploration of race and privilege is nuanced and thought-provoking. Unlike many films that tackle similar themes, Emergency avoids heavy-handed moralizing. Instead, it presents a complex scenario where there are no easy answers. This approach makes the film feel more authentic and relatable, as it acknowledges the complexities and ambiguities of real-life situations.

The supporting cast also delivers strong performances. Sabrina Carpenter’s portrayal of Maddy is intriguing, though her character’s motivations remain somewhat opaque. Madison Thompson as Alice and Summer Madison as Asa provide additional layers to the story, their interactions with the main characters adding depth to the narrative.

What falters: The film’s pacing stumbles slightly in its third act, which prioritizes spectacle over subtlety. A late-night twist, while intended to heighten tension, feels contrived rather than earned. Additionally, Carpenter’s character, Maddy, is underdeveloped, her motivations and backstory relegated to exposition dumps that disrupt the film’s otherwise tight narrative flow.

The film’s attempt to blend genres—comedy, drama, and thriller—sometimes results in tonal whiplash. While the shifts from humor to tension can be effective, there are moments where the transitions feel abrupt and jarring. This is particularly evident in the film’s climax, which relies on a series of escalating events that strain credulity.

The cinematography, while generally effective, occasionally feels overly stylized. Some shots, particularly those meant to convey a sense of urgency, rely too heavily on shaky cam, which can be disorienting rather than immersive. The film’s score also fluctuates in its effectiveness, with some musical cues feeling overly dramatic and detracting from the scene’s tension.

The film’s ending, while satisfying in its resolution, feels somewhat rushed. The final confrontation between Kunle and Maddy lacks the nuance and depth of their earlier interactions, leaving the audience with more questions than answers. This is a missed opportunity to explore the complexities of their relationship and the broader themes of race and privilege.

Verdict: Emergency is a bold, thought-provoking thriller that uses its genre trappings to explore timely themes of race, privilege, and fear. Williams’s filmmaking is confident and assured, even when the story takes missteps. The performances are uniformly strong, with Watkins standing out as a standout. The film’s exploration of moral ambiguity and the consequences of one’s actions is both timely and relevant, making it a must-watch for fans of socially conscious cinema.

While the film’s pacing and tonal shifts can be jarring at times, Emergency remains a compelling and thought-provoking experience.