My favorite movies often are the ones in which the script is spot on and honest and taps into truth, so that regardless of where its story goes, it’s believable and clicks, because the audience knows where its coming from and understands what’s going on.
EMERGENCY (2022) is such a movie, with an exceptional script by K.D. Davila that speaks to race relations in the here and now, specifically the treatment of black men by the police, and it does so in a way that not only isn’t overbearing and heavy-handed, but instead is wild and insane and even funny.
EMERGENCY, now available on Prime Video, tells the story of two black college students, Kunle (Donald Elise Watkins) and Sean (RJ Cyler), who on the eve of spring break, are on their way to an epic night of partying, but first they return to their campus apartment and there discover the door open and an unconscious body of a white girl lying on their living room floor. Their video game playing dorky roommate Carlos (Sebastian Chacon) is in his room playing on his computer and doesn’t even realize there’s a girl sprawled out on their floor.
Kunle wants to call 911, but the streetwise Sean stops him from doing so, explaining that if they call the police, no one is going to believe them that this girl just showed up on their doorstep. They will suspect Kunle and Sean of foul play, and worse, things could get out of hand quickly and they could be shot. This plot point isn’t hard to believe because… it’s true.
Kunle, who is responsible to a fault, eventually convinces his two friends that they should drive this girl to the hospital, as she definitely seems intoxicated or perhaps worse, drugged, and needs medical attention. Sean and Carlos agree, and they covertly carry the girl out to Sean’s car where they hope to drive her across town and leave her at the emergency room.
And thus begins an odyssey of a night that gets crazier and more intense by the second, as what could go wrong does go wrong, and then some.
While director Carey Williams obviously seems to have been influenced by the work of Spike Lee and Jordan Peele, two other films come to mind when describing how EMERGENCY plays out. In terms of sheer intensity and frenetic stress, I was reminded of brothers Benny and Josh Safdie’s GOOD TIME (2017), the film which told the story of the harrowing efforts of a bank robber played by Robert Pattinson trying to spring his mentally challenged brother from a hospital before he was transferred to prison. EMERGENCY also calls to mind the original THE HANGOVER (2009), the insane comedy starring Bradley Cooper and Zach Galifianakis, where three men awake after a bachelor’s night out to find the groom missing and their lives in complete disarray, and their attempts to locate the missing groom only make things worse. THE HANGOVER of course was played completely for laughs, whereas EMERGENCY isn’t, but the two films share the zany unpredictability of the best of intentions gone awry.
EMERGENCY captures that same HANGOVER- type journey blowing-up-in-your face vibe as things continue to unravel for these three young men as they try to do the right thing, even as they remain afraid of the simplest solution, calling 911, fearing it could cost them their lives.
Things that go wrong include the girl becoming more intoxicated when Carlos offers her a sports drink which he doesn’t realize is an alcoholic concoction created by Sean; the tail light on their car isn’t working, something that could get them pulled over by the police, and so they try getting another car; they learn that the girl, Emma, is underage, and Emma’s sister Maddie (Sabrina Carpenter) is hot on their trail with her friends, as she is tracking Emma with her cell phone.
I really enjoyed EMERGENCY. As I said, the script by K.D. Davila is as real as it gets, and it makes its points while also telling a compelling and entertaining story. Carey Williams’ direction is equally as good. The in-depth characterizations do not come at the expense of plot, as the film moves quickly through one ordeal after another. This is a high energy tale that does not sacrifice storytelling for poignancy.
Donald Elise Watkins is excellent as Kunle, the student with a bright future, described as the Barack Obama of the science world by his buddy Sean. Watkins plays Kunle as a young man who disagrees with his friend’s Sean’s take on the world and wants to call 911 and do the right thing, but ultimately, he doesn’t.
He also gets one of the best moments in the movie, the moment where his view of the world changes. When they are finally stopped by the police outside the hospital and are ordered at gunpoint to get out of the vehicle, Kunle is shoved to the ground after having a gun pointed directly in his face, even after he says that he is only trying to save the girl. The most interesting aspect of this scene is that the police do not overreact, but there is still a marked difference between the way Kunle is treated and the way the other students who are all white, are treated. It’s almost imperceptible, since this isn’t an overdramatic “shoot first ask questions later” scene, but it’s there. The experience not only frightens Kunle but traumatizes him, as shown by the last shot of the film, when he hears a police siren in the distance, and his expression goes cold.
RJ Cyler is also excellent as Sean, the street wise friend who knows a bit more of the real world than Kunle does. Sebastian Chacon as Carlos largely serves as the comic relief, and he’s very good at it. And although she spends most of the movie unconscious, Maddie Nichols makes her mark as Emma, and when she’s not vomiting and gets to speak some dialogue, has some key moments. Likewise, Sabrina Carpenter is explosive as Emma’s older sister Maddie, who is guilt ridden over bringing her sister to a college campus and then losing her. She has her own issues with racism which come out over the course of the movie, even as she pushes back and claims she’s not racist.
K. D. Davila’s screenplay provides first-rate dialogue throughout.
EMERGENCY is a superior movie, a film that tells a story of our time that as a wild and oftentimes funny vehicle is about as far removed from a preachy sermon as one can get. Yet, it makes its social and racial points as eloquently as any well-written speech or diatribe.
It’s one of my favorite movies of the year so far.