ST. LOUIS — Nolan (Garland Scott) is the kind of old school tough guy criminal who likes his steaks bloody, bites the filters off cigarettes to get a more potent smoke, and stuffs a steak knife into his jacket pocket for protection. The man's only soft spot is for the daughter he has never met.
As Cody Stokes' "The Ghost Who Walks" begins, Nolan is getting out of prison early for providing authorities with juicy info on his boss, a gangster known as Donnie. The rub is Donnie is now married to the love of Nolan's life and fathering his daughter, the two very reasons Nolan ratted on Donnie to cut down his sentence. Over the course of a couple nights, Nolan must escape Donnie's hitmen and try to reconnect with his ex and connect with his kid. Can he pull it off?
I'll say one thing about Stokes' directorial debut: the film makes for a compelling ride. Shot entirely in St. Louis, the commercial directing veteran doesn't rely on a plain old sky shot of the Arch or Busch Stadium to inform you of where this story is taken place, instead relying on more unique locations like Billie's Diner in Soulard or the endlessly bright lights of Market Street on a cold night. Based in the week of Christmas with a real time clock attached to its plot, "The Ghost Who Walks" has a kinetic feel to its tale, an allure that helps make up for its at times troublesome plot and setup.
We aren't given a lot of backstory on our anti-hero, but Scott holds your attention nevertheless. He looks like the grown-up version of "The Wire's" career criminal, Chris Partlow. Carrying a thousand mile stare with a fair dosage of intimidation in his eyes, Scott has presence to spare. This is his biggest role yet and he nails the part, concentrating on the ambiguity of his character's plight. He doesn't answer all our questions and you won't agree with all of his decisions in this movie. After all, he is a desperate man on a suicide-type mission, so you don't need to have a completely explained situation to appreciate his condition. Some things are better left unsaid.
Stokes' film has a unique mood to it as well. A lot of the scenes have a one track mind in the best way and give off an authenticity to how they unfold. There's a pair of exciting action sequences that highlight the film. They are startling bursts of activity in a movie that can meander during certain parts. There's a brutal bathroom fight and an escape involving a Santa Claus suit that take familiar concepts and add a higher volume of hyper-activity to the proceedings. You feel them from your seat on the couch.
The movie's main culprit is a lack of focus. There's a huge chunk of screen time in the middle that brings the film's pacing to a screeching halt and not in a good way. For a film that kicks off fast and doesn't stop moving in its best moments, slowing down can be the enemy that undoes a potentially great film.
The supporting cast is hit and miss, mostly due to the fact that some don't get a lot to do. But a few make a decent sized dent. The late Linda Kennedy nails her single scene with Scott. Playing a wise and respected neighborhood leader, she is someone Nolan turns to in a time of need, and its her monologue that gives credence to the film and its title. Frank Mosley provides some much-needed laughs at Stitches, an ally for Nolan during his improbable journey who may or may not be all he claims to be.
Here's the thing. "The Ghost Who Walks" takes familiar setups and plot-movements that we know well, and supplies them with a fresh moody coat of paint, highlighting a beautiful city that hasn't quite been captured cinematically yet. While no one claims the city to be St. Louis in the movie, one can't help but credit this town as a worthy supporting character. A late scene with Nolan driving a cab down Market Street to the soulful sounds of James Carr's "The Dark End of the Street" adds texture to the last part of the film.
While the plot leaves some holes and there is time wasted on a subplot involving a prostitute, Stokes' film is an unapologetic and unique experience. There's personality and soul located here, things that may have you coming back for a second helping. The ending doesn't tie an easy bow on things and delivers much-needed heart. You get what you expected in a low budget thriller, but there's a little more to keep an eye on Scott and Stokes' next adventure.
This movie is like its main character: imperfect and intimidating, lean and mean, and always interesting.
Give this one a look on Netflix.
