The Son of No One

The Son of No One follows New York City cop Jonathan White (Channing Tatum) as he’s assigned to a precinct within the lower-class neighborhood in which he was raised, with the film detailing the turmoil that ensues for Jonathan after a childhood secret threatens to come to light. Filmmaker Dito Montiel has infused The Son of No One with a pervasively somber tone that does, initially, seem to hold some promise, with the low-key vibe matched by an unusually subtle performance from star Tatum and an overall emphasis on gritty authenticity (ie Montiel has long-since established his willingness to capture NYC’s seedy underbelly). It becomes increasingly clear, however, that lying at the movie’s core is a mystery that couldn’t possibly be less interesting, with the less-than-engrossing nature of Jonathan’s investigation compounded by Montiel’s reliance on dull flashbacks and aggressively deliberate pacing. The inclusion of a few jolts here and there (eg a prisoner grabs an officer’s gun within a busy precinct) can’t quite compensate for an otherwise disastrously tedious atmosphere, and it is, as a result, impossible to work up any enthusiasm for the central character’s continuing exploits. It’s a shame, really, as Montiel has assembled an admittedly impressive roster of supporting performers, with the cast including such notable names as Al Pacino, Ray Liotta, Juliette Binoche, and Tracy Morgan. (The latter is surprisingly convincing as a morose figure from Jonathan’s past.) The end result is yet another ineffective endeavor from a curiously incompetent filmmaker, with Montiel’s ongoing ability to receive funding for his efforts nothing short of head-scratching.

* out of ****