‘Detonator’ Review

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Often, there comes a time in a man’s life when he is faced with a decision, a sacrifice of sorts, regarding his future. Forced with the tough decision of growing up, responsibilities and security while abandoning the carefree, fun-loving life once led. Usually this change in lifestyle is brought on by children; the immediate need to care and provide for a child usually takes presidence over a partying rock-n-roll lifestyle. This decision and one’s attempt of following through is the basis of Damon Maulucci and Keir Politz’s debut feature-length film, Detonator, where the following-through is made all the more difficult when the past pushes its way into the present in the form of an old, be it toxic, friend.

Detonator centers around Sully (Lawrence Michael Levine), a former front-man of the punk band Detonator, shown early on that Sully has traded in his punk-rock ways for a work phone securely clipped to his belt and driving around in his mini-van. Sully has a five-year-old son, Albert (Christopher Lamothe), with his recently reconciled girlfriend Karen (Dawn L. Hall). Sully is trying his hardest to move on, to be a responsible adult providing for his family, he even had his anarchy tattoo removed from his forearm. He trying to sell his gear to purchase a mattress, but just cannot seem to part with his twin reverb amp; he even had the money in his hand. Clearly, Sully is slightly apprehensive abandoning is punk-rock past.

As if Sully wasn’t having a hard enough time as is, his family life and secure suburban status are overthrown when an old bandmate, Mick (Benjamin Ellis Fine), resurfaces with a promise to settle an old debt. From the outset, one can tell that there is something amiss between these old friends, some sort of bad blood or betrayal causing Sully to be apprehensive of Mick’s intentions. The fact that Mick has not talked to Sully in years plus the start of Mick’s prison sentence, which begin the next day, Mick’s plans to even this debt remain indeterminate.

Things begin to take shape when Mick and Sully spend the night trekking through their collective past in search of the last remaining Detonator recording. The film unfolds slowly, shedding light on a former girlfriend and bandmate currently experiencing success, a neighborhood basement punk-rock promoter named Dutch (Robert Longstreet), who suffered a betrayal at the hands of Mick and Sully and the reasons behind Sully’s resentment towards Mick for past actions. Sully and Mick bicker and fight (throwing rocks at faces), judging each other for their decisions, past and present. Everyone reminding Sully of his immense talent and the fact that he used to stand for something, but what they don’t realize is Sully does stand for something – his family.

Everyone in the cast does a great with their respective roles, but the standout has to be Benjamin Ellis Fine as Mick, the unpredictable toxic friend and ex-bandmate stuck in the past. Mick cannot seem to pull himself out of the glory days of performing live, punk-rocking and, generally, doing whatever the hell he wants. Fine possesses a kinetic energy perfectly suited for the role while, also, showing moments of unexpected vulnerability. Unfortunately, those moments are usually followed by Mick doing something to further ruin Sully night and possible future. Lawrence Michael Levine does a great job, as well, reacting and trying to deal with the consequences that stem from Mick’s antics. His impromptu anarchy continuously frustrate and exasperate Sully, almost to the point of defeat.

Then there is Robert Longstreet as Dutch…well, he will kick the shit out of you. In the break-room at your sad, pathetic grocery store job or at your house, in front of your girlfriend and five-year-old son – he doesn’t care. Hell, he’ll kick the shit out of you in front of the courthouse. Dutch cannot be stopped; he will find you and beat your face in.

All-in-all Detonator is a somewhat standard film, that wanders aimlessly on occasion featuring some laborious dialogue, about the sacrifices one must make in order to become a responsible adult providing for his family set against a punk-rock backdrop. The film does have some refreshing trajectories while being beautifully shot. The scenes involving Mick and Sully traveling through the city at night, lit by the glow of streetlights, are astounding. Again, the lighting in this film is extraordinary (and the film’s highlight, aesthetic-wise) while also incorporating some clever camerawork, particularly the scene involving Sully driving around the desolate city streets captured beautifully by a front fender-mounted camera. Damon Maulucci and Keir Politz have definitely shown some promise with Detonator, now we’ll just have to wait and see what the future brings.