Right at Your Door

I had a chance to catch this at SUNDANCE.

It was probably the best movie I saw at the festival, though I only saw a handful of other films.

It's a solid debut by Chris Gorak and not a waste of 90 minutes. The setup is very good, as is the pacing and cinematography. They made the most out of what little money they had.

I have to say that at times it bordered on horrifying, and could've been classified as a horror film if some of those moments continued. Since I've lived in Los Angeles for about five years, I was particularly affected by the scenario. It's a very real possibility LA could be hit with a dirty bomb, and the repercussions would probably be similar to what's in the film.

It does suffer from some holes and stretches in logic and performance, but most thrillers do, so that's not necessarily a slam.

I can't say I liked the ending, but I was gripped by the story and the way it was shot.

A solid thriller.

The film opens with an unemployed musician, played by Rory Cochrane who was great in A Scanner Darkly but can't seem to flesh out his hero here past a certain point, showing a tender servile nature by making a cup of latté for his wife Lexi, played by Mary McCormack, who is still in bed. She soon leaves for work and Cochrane is at home alone. Time passes and over the radio he hears that numerous alleged dirty bombs have been set off across downtown Los Angeles. He sees significant quantities of smoke mounting from the city center. His instantaneous judgment is for his wife and her wellbeing so he drives in the direction of the city center to find her.

While it is a small-budgeted dramatic film more than anything it may seem to have pretensions about being, Right at Your Door shows several real matters Homeland Security planners are under immense pressure to handle like the interference with telecommunication because of so many calls, or the worried well who assemble to hospitals and emergency shelters and overpower emergency services, a great deal about the threat of contaminated people coming into hospitals and the necessity for facilities in which to work on decontamination. There are troubles through risk communication to the general public, the dilemma of enforcing containment after a biological attack, and the potential benefit of the Postal Service to circulate medications. It is resourceful to weave these predicaments into a dramatic narrative, a fundamentally theatrical one at that, one that is dialogue-driven more than anything.

However this standard LA-based twist-dependent thriller also uses many erroneous facets like, frankly, the use of the term "dirty bomb," or a biological agent used as an additive in a bomb, and Homeland Security recommending for people to seal a single room sooner than the entire home. Even though this paranoid thriller maintains as a vital element to the story that a virus can develop and become more lethal just by being confined, a virus needs the infection of a living thing to reproduce.

Right At Your Door taps into the present feeling of apprehension brought about by worldwide terrorism, with a fable of an attack on downtown LA that causes a haze of toxic dust overcoming adjacent suburbs, where many people generally feel the safest. Concentrating on a married couple mired in the catastrophe, Chris Gorak's script aims to squeeze frantic drama from a somewhat clever and unquestionably thorny circumstance which perceives Cochrane securely sealed inside his house as instructed by people in charge, when his infected and now possibly lethal wife McCormack arrives insisting to be allowed to enter. Such a strong dramatic conflict needs dialogue, acting, and plotting that are just as strong all the time to make it.

Alas, as the exactly ninety-minute-long film advances and the conflict grows determined upon the catch-22 challenging the fate of the two petrified leads, an excess of humdrum scenes of inert dialogue and some especially half-baked moments that put a strain on suspension of disbelief in the end lead the movie to fail to sustain its tautness.

Watching Right at Your Door, the same week that PG&E created the 3 Million Resident Power Black Out of 2019 in Northern California, while multiple massive wildfires ironically coincided in Southern California, Los Angeles, creates a perfect back drop to watch this movie.

Overall, this movie crawls along at a slow pace centralized to the confines of mostly one location. It sets you up all along to give you one final mind screw.

By the end of this movie, you'll realize that we have absolutely no power as citizens within California in particular, and all of us better pray this never happens in reality.

The 9-11 experience has given new relevancy to movies about terrorist attacks. In Right at Your Door, writer and first-time director Chris Gorak shows the impact of a sudden attack in Los Angeles. Similar to Spielberg's War of the Worlds, Gorak chooses to focus exclusively on the impact of the events on one couple—Lexi, a professional woman who works downtown (Mary McCormack) and her husband Brad (Rory Cochrane), an out-of-work musician.

Right at Your Door adeptly explores the human implications of a scenario that seems all too plausible in today's world. At the onset of the attack there is fear, panic, despair, disorientation and poor judgment. However, as the reality of the situation settles in, a survival instinct emerges, a certain calculating rationality. And finally, Brad and Lexi must face the many moral conflicts that can plague us in times of limited resources, dangerous conditions and life and death decisions. Layered on all of this are further apprehensions and uncertainties that must be dissected: Who can you trust? What does the government know? Whose advice do you listen to? What do we tell our friends and family? It is these issues that make viewing Right at Your Door a powerful and troubling experience. We see a little bit of ourselves in these characters, and it is easy to wonder how we would react in the face of these tragic circumstances. This movie will come back to you in moments of quiet contemplation.

Gorak has made a very good movie, especially given his very limited budget and complete lack of directing experience (he been a production assistant on another movie, but has never directed anything before). I particularly like his decision not to provide any information about where the attacks came from. It's probably not all that realistic, as surely the media would be engage in non-stop speculation, but it served to focus the emotions on those things that really mattered to the characters.

Interesting tidbit from the Sundance Q&A: Some of the scenes of smoke rising over the skyline used actual footage from the bombing in Iraq.

Right At Your Door taps into the current climate of fear caused by international terrorism, with a tale of a 'dirty' bomb attack on downtown Los Angeles that results in a cloud of toxic dust engulfing nearby residential areas.

Focusing on a married couple caught up in the disaster, the film seeks to wring tension from a rather inspired and decidedly awkward situation which sees husband Brad (Rory Cochrane) safely sealed inside his house (as instructed by the authorities), when his contaminated (and now potentially deadly) wife Lexi (Mary McCormack) turns up outside, demanding to be let in.

Such an intense situation requires class-A dialogue, top notch acting, and flawless plotting from start to finish in order to succeed, and, at first, it seems as though Right At Your Door might have what it takes: the promising opening, in which Brad gradually realises what is happening and then desperately attempts to locate his wife in all of the confusion, is well realised.

Unfortunately, as the film progresses and the action becomes concentrated on the dilemma faced by the terrified Brad and Lexi, too many mundane scenes of chit-chat, the inclusion of a couple of pointless characters, and some very ill-considered moments that really take some swallowing, ultimately mean that the movie fails to maintain its tension.

Towards the end, obviously sensing that his script desperately needs a boot up the rear, writer/director Chris Gorak tacks on a last minute 'shock' twist ending, but it is so far fetched that it is unable to save the film from being yet another example of a good idea let down by a poorly constructed script.