
Close Range
2015

Representation Score
Limited
2020
RDirector
York Alec Shackleton
Runtime
90 minutes
Average Rating
No ratings yetNew Showbiz Analysis
Disturbing the Peace operates strictly within the boundaries of traditional action-crime genre clichés. The narrative structure prioritizes individual heroism and the resolution of conflict through violence rather than exploring the way different parts of someone's identity overlap. The film relies on established Western cinematic conventions, such as the lone lawman defending a community against external threats. This focus results in a narrow perspective that lacks intentionality regarding diverse social or cultural representation. Ultimately, the film functions as a standard genre piece. It reinforces traditional masculine archetypes and homogeneous settings common to rural crime dramas, offering little disruption to conventional cinematic norms.
Category Breakdown
The film follows a conventional action-crime framework. There is no indication of non-traditional gender identities or critiques of the assumption that everyone is straight or cisgender.
The story centers on a male protagonist navigating a traditional masculine arc of violence and redemption. This reinforces classic archetypes of male leadership.
The small Texas setting and outlaw biker clichés often lean toward homogeneous casting. The film aligns with traditional Western depictions of rural law enforcement.
The plot utilizes classic Western motifs like the lawman and the outlaw. It focuses on standard conflicts between authority and criminal elements.
The protagonist's history of a tragic shooting may imply psychological trauma. However, it is unclear if this is handled with real control or used as a plot device.
Present on Screen
Limited or Absent
Official Synopsis
A small-town marshal who hasn't carried a gun since he left the Texas Rangers after a tragic shooting must pick up his gun again to do battle with a gang of outlaw bikers that has invaded the town to pull off a brazen and violent heist.

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