Thomas Blackmore’s Threshold smashes elements of Training Day and Little Children into a genre mix of horror and obsession, which shocks and scares on top of intriguing character dynamics.
When a cold case opens, as signs of a return of the killer responsible, ex-cops Lukas (Jamar Bailey) and David (Timothy Fraylon) hook up to discuss the possibility of finishing a job they started, nailing the killer and seeing justice done.
But things have changed since the old days, the bad days, the all-or-nothing days. Lukas is building a family and has no desire to put his neck on the line to be sliced by some serial slasher. Yet, he recognizes the need and an almost unhealthy obsession his ex-partner has when broaching the subject. David isn’t ready to just walk away and let sleeping murderers lie. He wants to close the case. He wants a resolution.
“David isn’t ready to just walk away and let sleeping murders lie.”
Unsold initially, Lukas rationalizes the situation at home, trying to convince himself, whilst convincing his wife, that aiding David in his vigilante-style act of authority is a good thing. After all, as a future parent, ridding the world of one less crazy is a public service and a step towards making tomorrow a better world.
Still, he has an allegiance to David, thus armed with little more than his courage, while his ex-partner, sporting a weapon better suited to Rambo, carries out the former officer’s assault on the location. David knows a maniac, responsible for the mindless slaughter of many, who lies in wait.
Brief, bloody, and brutal, Mr. Blackmore’s Threshold plumbs the dark depths of society and shadowy corners of the human psyche. This picture shows us the fine line between duty and insanity, along with what happens when it’s crossed.
"…plumbs the dark depths of society..."
