Film
By Any Means
- Crime
- Very dark
A 1960s Mississippi thriller that pairs a young Black FBI agent with a mafia hitman to solve civil rights murders. It's a tense, morally complicated buddy story that uses genre conventions to examine complicity, violence, and the messy compromises of justice. For viewers drawn to crime procedurals with historical weight and moral complexity.
If you liked this
Selma2014
Director Ava DuVernay crafts a muscular, emotionally precise account of the 1965 march. It's focused and urgent rather than sprawling, with powerful performances and a clarity about what's at stake.
But Some find it more sermon than drama—the historical outcome is known, and ambiguity isn't the point. It can feel didactic if you resist its moral clarity.

Mississippi Burning1988
A procedural about FBI agents investigating a 1964 triple murder in Mississippi. It moves like a thriller, builds real tension, and Gene Hackman and Willem Dafoe generate genuine friction. The period detail is impeccable.
But It's been rightfully criticized for centering white agents as the heroes of a Black tragedy. The moral framing hasn't aged well, and it feels dated in ways that matter.

American Gangster2007
Denzel Washington and Russell Crowe in a sprawling 1970s crime drama about a drug kingpin and the cop pursuing him. It's handsomely made, gripped by character, and driven by the tension between its two leads.
But It's long, sometimes slow, and occasionally admires its villain in ways that feel hollow. The pacing can test your patience in the second hour.

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The wildcard
Something you would not have found on your own.
Severance2022
Both are about characters forced into impossible partnerships with morally compromised institutions. Both use the genre thriller structure to ask: at what cost does justice come? What do you sacrifice, and what does that say about the system?
A nine-episode Apple series that's formally audacious, visually stunning, and morally intricate. It uses science fiction to ask questions about complicity, division of labour, and institutional control in ways that feel urgent.
But It's deliberately paced and aesthetically stylized in ways that some find pretentious. It doesn't resolve and the second season hasn't aired; cliffhangers and ambiguity aren't for everyone.

More like this (7)
In the Heat of the Night1967
Sidney Poitier as a Black Philadelphia detective in a small Mississippi town investigating a murder. It's lean, smart, and carries genuine explosive power—the premise itself was radical for 1967.
But It can feel theatrical and a touch didactic by modern standards. Some of the messaging is blunt, and the resolution is perhaps neater than real life would permit.

Killers of the Flower Moon2023
Scorsese's methodical, morally serious examination of murder, greed, and corruption in 1920s Oklahoma. It's a crime story that interrogates complicity and allows viewers to sit with moral discomfort.
But Three and a half hours, deliberately paced, heavy on dialogue and internal state. If you want propulsion over reflection, it will feel slow and sometimes ponderous.

The Godfather1972
The template for crime drama—a mafia story told with operatic scope and moral ambiguity. It's about power, loyalty, corruption, and the seduction of violence. Essential viewing and genuinely gripping.
But Nearly three hours, and the pacing is deliberate. It's revered partly because it's so influential, and that weight can feel exhausting if you resist its rhythm.

L.A. Confidential1997
A 1950s Los Angeles crime procedural with three detectives, each flawed in different ways, chasing corruption through the department. It's taut, clever, and the ensemble work is flawless.
But Violence is graphic and sexual assault features prominently. Some find the period detail overwhelming, and the plot can feel overstuffed.

Parasite2019
Bong Joon-ho's masterwork about class, complicity, and the masks people wear. It's thrilling and darkly funny, and it argues that moral categories don't hold up under pressure.
But It's Korean-language and shifts genre tone significantly—what feels like dark comedy becomes something much sharper. Subtitles require attention; mood swings can feel jarring.

Once Upon a Time in America1984
Sergio Leone's sprawling meditation on crime, friendship, memory, and mortality. It's lyrical and violent, and haunted by questions about what violence costs.
But It's nearly four hours, deliberately fragmented across time, and emotionally punishing. The pacing is glacial by modern standards, and the ending divides viewers sharply.

Caché2005
Like the film, it's about what happens when systems of power force encounters between people who've been kept apart. Both explore the violent consequences of complicity and the ways institutions make violence banal. Both refuse the comfort of moral simplicity.
Michael Haneke's glacial, intelligent thriller about a French couple receiving mysterious video tapes and photographs, with buried history surfacing. It's formally precise, unsettling, and asks urgent questions about guilt, complicity, and looking away.
But It's European arthouse, long takes, minimal music, no conventional catharsis. Haneke withholds satisfaction deliberately. If you need clarity and closure, this will frustrate you enormously.

People
Cast
Yahya Abdul-Mateen IIWayne Strider
Mark WahlbergGregory Scarpa
Nicole BeharieAllison Strider
Josh LucasSpecial Agent Everett Rhodes
David StrathairnSpecial Agent Roy K. Moore
Giancarlo EspositoVernon Dahmer
Ethan EmbrySam Bowers
LisaGay HamiltonMs. Rebecca Brewer
LaChanzeHattie Dahmer
Biko Eisen-MartinSpecial Agent Archie Crawford
Will BrittainBilly Roy Pitts
DeVere JehlEdgar Ray Killen
Directing
- Elegance BrattonDirector
- Nicolas HarvardFirst Assistant Director
- Alina GattiSecond Assistant Director
- Walter GarciaSecond Unit Director
Writing
- Sascha PennWriter
Production
- Adam KolbrennerExecutive Producer
- Brent GuttmanExecutive Producer
- Christopher TremannExecutive Producer
- Gianni BenvenutoExecutive Producer
- Jeff RiceExecutive Producer
- Jonathan OakesExecutive Producer
- Logan ColesExecutive Producer
- Michael J. RothsteinExecutive Producer
- Nicki CorteseExecutive Producer
- Petr JáklExecutive Producer
- Samuel HallExecutive Producer
- Sascha PennExecutive Producer
- Scott H. CohenExecutive Producer
- Warren T. GozExecutive Producer
- Waylen LinExecutive Producer
- Wayne Marc GodfreyExecutive Producer
- Zach ZhangExecutive Producer
- Alex LeboviciProducer
- Basil IwanykProducer
- Chester Algernal GordonProducer
- Elegance BrattonProducer
- Erica LeeProducer
- Mark WahlbergProducer
- Stephen LevinsonProducer
- Victor MoyersUnit Production Manager