Emotional impact lacking in 'Emancipation,' a slavery story prioritizing its cinematic spectacle | Movie review

Dec. 7—Arriving in the heart of Hollywood's awards season, "Emancipation" would seem poised to be a major player. Then you watch it.

Helmed by "Training Day" director Antoine Fuqua and starring Will Smith, the film — already in select theaters and debuting this week on Apple TV+ — is inspired by the story of "whipped Peter," an American slave.

Having recently escaped his masters, Peter sat for a photograph in March 1963, his back to the camera, revealing myriad keloid scars from his time at a plantation. The portrait, published in Harper's magazine, sparked outrage and debate in the country and remains a powerful reminder — sadly, one of many — of what may be the ugliest chapter in this country's history.

"Emancipation" is set in Louisiana during the Civil War, as a rumor that President Abraham Lincoln has proclaimed an end to slavery circulates among slaves, with Smith portraying a God-loving, authority-resistant slave named Peter. You expect it to tell a thoughtful, emotionally resonating tale along the lines of "Roots," "12 Years a Slave" and several others.

Instead, it's an exercise of style over substance, a brilliantly shot but ultimately underwhelming ordeal.

And it is an ordeal, to be sure, Peter suffering greatly and experiencing great hatred before and during his danger-filled run for freedom.

It is not, though, a topnotch drama.

And the filmmakers seem to know it, the production notes for "Emancipation" referring to it as "a rousing action epic" and a "propulsive, visually mesmerizing thriller." At the end of the day, it's a chase movie, with Fuqua said to envision it "joining the pantheon of high-wire, breakneck chase movies fueled by defiance — from 'The Great Escape' to 'Mad Max: Fury Road.'"

Well, we don't quite see that, but it is undeniably impressive from a technical standpoint, thanks largely to the camera work of three-time Academy Award-winning cinematographer Robert Richardson ("JFK," "The Aviator," "Hugo") and the production design of Naomi Shohan ('American Beauty," "A Wrinkle in Time"). "Emancipation" certainly is not lacking in scale, and Shohan's massive sets — populated by scores of cast members and extras — are captured magnificently by Richardson, with shots that swing and swoop to pull it all within the frame.

Even when it's just Peter traversing the perilous swamp to stay ahead of men on horseback and scent-consumed dogs, "Emancipation" tends to be visually enthralling.

And the score by Marcelo Zarvos ("Dark Waters," "Penguin Bloom") enhances the tension.

However, the characters — even Peter and his main adversary, merciless bounty hunter Fassel (Ben Foster) — are shockingly thinly drawn by screenwriter William N. Collage ("Assassin's Creed," "Allegiant").

The dynamic between them, established after Peter is torn from his family at a family-run plantation and moved to a Confederate labor camp where slaves are building a railroad, is anything but nuanced.

After Fassel hears Peter exclaim praise for God, "I'm your god. You walk the earth because I let you. You're my dog now."

"Perhaps you'll give me some of that fine meat you give your other dog," Peter replies.

In case we don't grasp just how evil Fassel is, we are treated to a horrific story from his childhood, in which he recounts a valuable lesson given by his father about why they must treat slaves the way they do. Collage is not exactly subtle in drawing parallels to some racist perspectives existing in 2022.

Foster ("Hell or High Water," "The Survivor") is capable of portraying complex characters, but he doesn't get the chance with this entirely forgettable monster.

And now we must address the Smith-shaped elephant in the room. Unless you've been living under the world's biggest rock, you're well aware of his outburst and striking of Chris Rock at the Academy Awards in March, leading to a 10-year ban from any Oscars-related events.

Even if Smith — a deserved best-actor winner at that now-infamous ceremony for 2021's "King Richard" — didn't have this ugly mark against him, we don't think he'd get nominated for "Emancipation." His is a fiery, physically demanding performance, and he impresses in numerous scenes, but the material lets him down. As easy as it is to root for Peter — to hope he finds freedom and is able to rejoin his family — there isn't much dimension to him.

Somewhat understandable reasons exist for "Emancipation" taking the form it does. The aforementioned notes suggest Collage and Fuqua did as much research as they could into the real Peter, but that so much of that era is lost to the "historical void."

Yet if some invention clearly was required, why not go further in fleshing out the key characters?

It's not as if a stronger script would have made it difficult for Fuqua ("The Equalizer," "The Guilty") to deliver all the spectacle "Emancipation" has to offer.

Even with this disappointment, the film earns at least a mild recommendation.

For starters, that spectacle is deserving of appreciation.

More importantly, however, even if other films and television projects have done it more impactfully, "Emancipation" shines a light on the darkness of which mankind is capable.

'Emancipation'

Where: Apple TV+.

When: Dec. 9.

Rated: R for strong racial violence, disturbing images and language.

Runtime: 2 hours, 12 minutes.

Stars (of four): 2.5.