Red Right Hand (2024) Movie Review

"In these hills, survival comes with a price tag soaked in blood," purrs Big Cat (Andie MacDowell), a formidable Appalachian drug lord, moments before her henchmen offer a grisly sacrifice to her guard dogs. This gritty narrative sets the tone for "Red Right Hand," a gritty crime thriller penned by first-time screenwriter Jonathan Easley and helmed by directors Ian and Eshom Nelms, echoing the thematic undercurrents of their 2017 hit, "Small Town Crime."

Orlando Bloom takes center stage as Cash, an ex-junkie whose scarlet-stained hand serves as a stark reminder of his past entanglement with Big Cat's criminal syndicate. Seeking solace from his haunted history following his sister's fatal overdose, Cash retreats to a secluded existence on her rural estate, where he aids his troubled brother-in-law Finney (Scott Haze) and his intellectually inclined niece Savannah (debutante Chapel Oaks) in tending to the farm.

Yet, in the relentless grip of fate, the past refuses to stay buried. When Finney's failure to repay a hefty debt incurs Big Cat's wrath, Cash is reluctantly drawn back into the treacherous world he sought to escape. As Big Cat's insatiable ambition drives her to pursue dominance, Cash must leverage his lethal prowess and interpersonal charm to secure her empire's legacy, plunging deeper into a web of violent narcotics transactions. Amidst the chaos, Cash and Finney ensure Savannah is armed and prepared for the impending storm.

While Bloom endeavors to infuse Cash with rugged intensity, his performance often veers into the realm of artifice, betraying the authenticity sought in portraying his character's turmoil. A departure into caricature could have lent gravitas to the narrative's pulpy essence, yet Bloom's portrayal falls short of embracing this stylistic choice.

In contrast, Garret Dillahunt shines as Wilder, a former junkie turned preacher whose fervent sermons draw parallels to John Milton's "Paradise Lost," evoking echoes of Southern-gothic pulp cinema at its zenith. Dillahunt's larger-than-life portrayal imbues the film with an electrifying energy, reminiscent of the deranged zealotry embodied by Preacher Harry Powell in "The Night of the Hunter."

MacDowell commands the screen with chilling authority, delivering a tour de force performance as Big Cat, the epitome of Southern malevolence. From her opulent mansion adorned with oak-paneled bookcases to her sinister acts of violence executed with chilling precision, MacDowell masterfully embodies the essence of a villainess whose venomous charm conceals a deadly agenda.

However, the film's supporting cast of malevolent lackeys fails to match the menacing allure of their leader. Strikingly polished and impeccably groomed, they lack the weathered visages and rugged authenticity befitting their roles, diluting the immersion into the seedy underbelly of Appalachia's criminal underworld.

Yet, amidst these shortcomings, cinematographer Johnny Derango expertly captures the essence of pulp fiction, juxtaposing high-contrast nocturnal scenes with vibrant hues of orange and teal. The film's noir-inspired aesthetic lends a palpable atmosphere to the narrative, illuminated by well-executed lighting that grants visibility to its characters' expressions and emotions.

Regrettably, the climactic showdown falls short of its potential, with Bloom's presence notably absent for prolonged intervals. While Savannah and the preacher engage in a tense standoff with Big Cat, Bloom's character is relegated to the sidelines, navigating the surrounding woods in a bid to infiltrate her stronghold.

In hindsight, it becomes evident that Dillahunt and MacDowell serve as the film's pulsating heart, embodying its thematic exploration of America's tangled web of faith, family, firearms, drugs, and wealth. Despite its narrative missteps, "Red Right Hand" offers a visceral glimpse into the dark underbelly of rural crime, anchored by standout performances and a palpable sense of Southern-gothic intrigue.