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By midlandsmovies, Aug 11 2019 08:00AM



McKinley


Directed by Ben Bloore


2019


B Squared Films


After a bit of hiatus local Derby filmmaker Ben Bloore returns to the director’s chair for his new 7-minute short McKinley, an emotional police procedural containing many unfortunate consequences.


We open with a husband (Steve Wood as Craig) who arrives home late one Friday night to his wife (Tina Harris as Emma) who angrily shouts at his son (Rory McGuinness) to go to bed.


A violent row ensues with his wife pushed out the way as he heads upstairs to the boy’s room where he is unjustly punished by the whipping of a belt.


But there is a twist in this tale: a masked intruder enters from behind and attacks Emma before we are whisked away to the next day where a police officer is at the crime scene. A great introduction, Bloore switches focus (and our sympathies) with this narrative swap and immediately sets up an intriguing mystery just a few minutes in.


A dishevelled and unshaven detective turns up (Mark Tunstall as the eponymous McKinley) who is whisked around the house by a forensic scientist (Michelle Darkin Price) explaining how the previous night’s events unfolded.


Bloore again uses images to fill in the audience with the background as we cut back to see the final moments of the parents before their bodies were discovered now strewn on the floor. But again we are offered a plot surprise as we find out the son has in fact survived the attack.


McKinley appears haunted by a past case, especially one involving his family as he imagines their images in a broken photo frame and we again flashback to the incredibly traumatised detective at a different crime scene.


The film has a huge number of high points going for it. Bloore has assembled a crew who have created a quality short that looks as good as anything I’ve seen on TV. Director of Photography Jon O’Neill uses sharp images with great depth and the shot quality shows the professionalism and skill on screen.


Kudos should also go to editor Nick Archer who successfully cuts back and forth across many time narratives to ensure the audience can understand the multiple situations we are shown.


The acting is also a highlight with the whole cast delivering and getting across their characters in such a short space of time. This is probably due to the successful relationship the director has built up with the actors from their previous appearances in his earlier shorts 2015’s Hidden Truth (review here) and 2016’s Crossing Paths (review here).


Haunted by ghostly visions, McKinley finishes open-ended which again reflects the TV nature of the film with this short almost acting as the pilot episode of a longer drama series. As one door closes we are left to imagine another opening up as the film’s conclusion teases a bigger story and further investigation.


Although the short does contain some clichés of the genre – the troubled detective, a family murder etc – the film overcomes most of these. With high-quality professionalism and a well-written script, this allows the audience to discover the mysteries along with the characters in a fulfilling way. And from a satisfying set-up to an exceptional cast, McKinley is a first-rate detective tale with intriguing secrets that will leave an audience wanting much more.


Michael Sales


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