Tag Archives: Michael Kenneth Williams

Sundance 2022: 892

A young Marine war veteran walks into a bank. Brian (John Boyega) is jittery but quiet, and polite. When it’s his turn, he informs teller Rosa (Selenis Leyva) of the situation they’re about to embark upon together. He’s holding her, and whoever else is in the bank, hostage. But he doesn’t want the bank’s money. He only wants the money he is rightfully owed by the government, a paltry sum they just haven’t paid. It’s such a humble request that Rosa isn’t even sure whether she’s heard right. His words don’t match his gentle demeanor, his courteous approach. But while astute bank manager Lisa (Connie Britton) calmly and efficiently empties the bank of as many customers as possible, Rosa’s finger hovers over the hidden red button, and when she finally pushes it, the ball is set in motion for what will inevitably be a very bad day for all of them.

We all know the challenges that vets face as they reintegrate into civilian life. The money Brian feels he’s owed is really just a substitute for some dignity, a sign that his sacrifice meant something to the country he served. But no matter how justified his cause, at the end of the day Brian is a Black man in America who is holding up a bank. Police swarm the building and director Abi Damaris Corbin knows how to pull the strings of this thriller extra taut.

Sadly, though, this isn’t your run-of-the-mill bank heist movie; this movie is based on the tragic but true story of Brian Brown-Easley, a Marine vet so desperate after not receiving his disability cheque of $892 that he risked his like (again) just to make a point. Because though the bank was a convenient symbol, he refused to take their money. It was the government who owed him, and he was determined to bring attention to his plight, which we know is all too common for veterans returning from combat. It’s an awful truth, one that Corbin is adroit at telling. Even if you know Brown-Easley’s story, you’ll still be sitting on the edge of your chair, sweating it out until the very end. And if you’re anything like me, feeling it deep in your bones and straight through the heart.

John Boyega is quite a presence here, a stand-out among a stellar cast, as evidenced by their Sundance Special Jury award for ensemble cast (which also includes Michael Kenneth Williams, Nicole Beharie, and Olivia Washington). Set almost entirely inside the bank, 892 puts us inside the mind of a man in distress, and the world gives him few options for escape.

892 is Michael Kenneth William’s final role, and the film is dedicated to his memory.

Body Brokers

Having done absolutely no research on this myself and relying solely on what this movie has told me: the Affordable Care Act classified addictions as a must-treat disease, creating the opportunity for an economic boom in the health care industry. There are thousands of beds to be filled; the trick is in finding the bodies.

The Premise: Utah (Jack Kilmer) goes to treatment after a decade of crack and heroin.

The Verdict: This isn’t a story about an addict in recovery. This is the story of corruption in the treatment industry. The movie feels, and it’s probably fair to say that writer-director John Swab feels, that treatment centers are a scam. An actual multi-billion dollar fraud that relies on repeat customers so isn’t exactly invested in full recoveries, uses its few success stories to recruit other addicts into empty beds to keep the cash flowing in, and profits from relapse. It’s a scathingly cynical view of the world, but that doesn’t mean it’s wrong. It reminds me of I Care A Lot – which dealt with corruption in nursing homes – in content if not delivery. Body Brokers lacks a certain gloss, a certain finesse, but if you’re in the mood to rage against the machine, this will get it done, and a grounded performance by Michael Kenneth Williams makes it go down that much easier.

R.I.P. Michael Kenneth Williams.