Name: The Little Things
Genre: Drama, Crime, Thriller
Released: 2021-01-28T00:00:00+00:00
Cast: Denzel Washington, Rami Malek, Jared Leto, Chris Bauer, Michael Hyatt

The opening shot of The Little Things (2021) lingers on a handwritten note, its edges singed as if rescued from an inferno. It’s a stark image, one that immediately sets the tone for John Lee Hancock’s crime thriller—a story steeped in danger and the weight of the past. Starring Denzel Washington as Joe “Deke” Deacon, a deputy sheriff with a haunted gaze and a grudge against Los Angeles, the film follows his reluctant partnership with Sgt. Jim Baxter (Rami Malek) to track down a serial killer terrorizing the city. The premise is familiar: two detectives, one jaded, one ambitious, united by a shared obsession with catching a predator. But Hancock’s approach is deliberate, almost forensic, dissecting the psychology of his characters as much as the crime itself.

Washington, as always, is the film’s cornerstone. Deke Deacon is a man burdened by history, his every movement measured, his silence more eloquent than any speech. Washington’s performance is a masterclass in restraint, each flicker of emotion in his eyes speaking volumes about the demons he carries. His chemistry with Malek is intriguing, though uneven. Malek’s Baxter is a study in contrasts—sharp-witted and impulsive, driven by a need to prove himself but prone to reckless decisions. The dynamic between Washington and Malek is compelling, their verbal sparring matches underscored by an unspoken tension that hints at deeper layers of conflict.

Jared Leto, however, stumbles. His portrayal of Albert Sparma, the prime suspect, veers into campiness. Leto’s performance is a series of mannerisms—twitches, smirks, and exaggerated gestures—that feel more like a caricature than a credible threat. It’s a misstep that disrupts the film’s otherwise grounded tone, turning what should be a chilling encounter into something closer to parody.

Hancock’s direction is methodical, his camera work precise. The cinematography by John Schwartzman emphasizes confinement and isolation, using tight spaces and shadowy lighting to create an atmosphere of dread. The score, composed by Thomas Newman, is understated but effective, its subtle cues amplifying the tension without resorting to bombast. These technical choices elevate the film’s procedural elements, making even the most routine scenes—interrogations, stakeouts, forensic examinations—feel charged with significance.

Yet, for all its strengths, The Little Things struggles with pacing and narrative cohesion. The script, also written by Hancock, juggles multiple timelines and subplots, weaving Deke’s past into the present-day investigation. While these flashbacks are visually striking, they often disrupt the flow of the story, making the narrative feel fragmented. The film’s third act, in particular, relies on a twist that feels contrived rather than earned, undercutting the tension it has so carefully built.

The supporting cast brings depth to the proceedings. Chris Bauer, as Detective Sal Rizoli, provides much-needed levity and camaraderie, his easygoing demeanor a counterpoint to Deke’s intensity. Michael Hyatt shines as Flo Dunigan, Deke’s ex-wife, her scenes with Washington imbued with a quiet ache that hints at the complexities of their relationship. Natalie Morales, as Detective Jamie Estrada, and Isabel Arraiza, as Jim Baxter’s wife Ana, offer solid performances, though their roles are somewhat peripheral.

The film’s themes—obsession, redemption, and the cost of justice—are explored with nuance. Deke’s quest to catch the killer is as much about confronting his own past as it is about solving the case. This internal struggle adds depth to the character but also complicates the narrative. The film’s pacing suffers as a result, with too many scenes devoted to introspection at the expense of forward momentum.

The Little Things is a film for fans of slow-burn crime dramas, those who appreciate the intricacies of police procedurals and the psychological depth of their protagonists. It’s not for viewers seeking a fast-paced thriller or a conventional whodunit. Hancock’s approach is deliberate, his focus on character and atmosphere over plot twists and action set pieces. The result is a film that lingers in the mind long after the credits roll, its haunting imagery and complex characters demanding reflection.

In the end, The Little Things is a solid but unremarkable crime thriller. It benefits from Washington’s magnetic performance and Hancock’s steady direction but falters under the weight of its own ambition.