Spades

Filmmaker Johnny Yong Bosch delivers a full deck of explosive action in this indie feature film, Spades. 

Starring Jason Narvy as James Bishop, a former soldier suffering from PTSD who is now a detective engulfed by a terrifying spree of vigilante killings across the city. The brutal murders are linked to a human trafficking ring, and when Bishop’s own daughter Lana (Maya Brattkus) goes missing, the hunt for the masked vigilante (who leaves a familiar calling card at the scene of his crimes) and the other array of villains becomes increasingly vital.

Palpably violent and tense, Spades is brilliantly rendered with a fantastic attention to aesthetics and action sequences. The VFX gunshots and blood splatter are excellent, creating a video game-type atmosphere, and the antihero setup of the masked vigilante will tap into those who like a bit of Deadpool or Watchmen. The fight sequences are choreographed with the precision of a master sensei, creating a vast number of visceral moments for the audience to wince at. They even throw in some good slow-mo to make sure we really appreciate the on-screen ass-kicking being presented. 

Whilst the editing of the film could have been a little harsher, Spades has a lot of great technical achievements. The sound design is fantastic at intensifying the explosive atmosphere of the visuals, and the camerawork during the fight scenes is more than capable. The performances should receive commendation too, in particular Narvy in the leading role, who balances the fragile hero brilliantly, and also Nobuaki Shimamoto, who is absolutely terrifying as the character of Saito. Johnny Yong Bosch as the vigilante works well, especially once the chemistry between his character and Narvy’s gets going. 

With any high-octane action movie, the characters need to have a connection with the viewer. The success of films like John Wick and Taken was due to the emotional core being cemented early on to make sure we aren’t numb to the flurry of death. Johnny Yong Bosch’s story brilliantly inserts this early into the movie, with flashback sequences of Bishop with his army unit, showing us (not telling us) where the central character is emotionally, and also leaving a trail of breadcrumbs for us to follow. We are also dealt a few clues about James’ troubled past with his daughter Lana, further enhancing the poignancy of the movie. This is sophisticated storytelling done with bruise-inducing theatrics.