Once in the Life

by Daniel Papkin

In his directorial debut, the supernal actor Laurence Fishburne crafts a compelling and credible examination of the ties (and tie-offs) that bind. Though slightly hampered by its origins as a stage play (also by Fishburne, who seems intent on proving that you can, in fact, have it all), this tale of how a wayward shipment of heroin can really mess up a friendship and incense a drug dealer triumphs through focused acting, beautifully rhythmic writing and sensitive direction.

In a set of opening sequences that many a more experienced writer and director would do well to study, Fishburne establishes the players and the stakes for which they play with energy and economy. The director himself plays 20/20 Mike, a criminal so named beause of his uncanny vision which, unhappily, has little impact on his judgement. Reunited with his half-brother Torch (Titus Welliver) in a holding cell after an ill-advised skirmish with a cab driver, Mike enlists his sibling's aid in a similiarly foolish heist of a ruthless drug dealer's heroin after failing to note that Torch is himself enslaved to junk. The pair make off with the product, but Torch is wounded.

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After making it to a safehouse, Mike calls on his oldest friend, Tony the Tiger (Eamonn Walker), for help. What Mike does not know (again, the vision thing) is that the goods he has nabbed were earmarked for Tony and that the slighted dealer, Manny Rivera (Paul Calderon in a layered, disturbing turn), is holding Tony's wife (Annabella Sciorra) and daughter as collateral until Tony delivers Mike and Torch's heads.

Fishburne and his cast make the most of this dramatically rich set-up, and the fandango of memory, allegiance and betrayal essayed by the three principles in their illusory oasis from the rigors of "the life" is riveting.

Further lifting this engrossing film are Bill Pankow's tight editing, Branford Marsalis' snappy score and first-time DP Richard Turner's crisp cinematography.

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