Fans of crime fiction are most likely familiar with Vertigo’s “100 Bullets” comic book. Not only is it the best-written crime comic currently out there, it’s also one of the best-written comic books, period. For better or worse, it will most likely be made into a movie one day. If it is, it needs M. A. Littler directing it because his first foray into fiction with the crime drama “The Road to Nod” is like watching an issue of “100 Bullets” come to life.
Littler’s film is a black-and-white noir where every shot is meticulously planned and every line of dialogue helps solidify part of the greater picture. Some may use the term “existentialist” to describe it (and they wouldn’t be wrong), but those kinds of words scare people. Instead, consider this the thinking man’s crime movie.
Parrish (Delaney Davidson) is a common criminal who has spent the last six years behind bars. When he gets out he goes back to his roots and has a meeting with the Reverend (played by Beat-Man, who shows that music isn’t the only thing he can do well). Just when it looks like things may go back to the way Parrish remembers them, the Reverend is executed by a rival gang and Parrish is running for his life. Along the way he encounters old friends and new enemies, and he quickly realizes his life is never going to be the same.
If anyone ever says crime films can’t be art, they need to see this. It’s a film that not only respects the genre but also all the films that came before it. Littler knows well enough to try something original, too, and while it could be argued by those with short attention spans that the film drags in places, the rest of us will call it “setting the mood.” Is it perfect? No, but it’s as close as it can get. Subtle, sublime and powerful — these words not only describe this crime tale, they described the genre when done right… and this film is the perfect example of the genre being done right.
