A Review of ‘The Low End Theory’: An agreeable thriller that blends forbidden romance with crime gone wrong
A mentally-perturbed money-launderer is tempted to dupe her boss to aid a damsel in distress whom she loves.
‘The Low End Theory’: An agreeable thriller that blends forbidden romance with crime gone wrong
Cast: Sofia Yepes, Rene Rosado, Sidney Flanigan, Eddie Martinez, Ser Anzoategui, J.R. Villarreal, Philip Anthony-Rodriguez, Jackie Quinonez, Scotty Tovar, Da’Vone McDonald, Ricky Russert, Nicole Santamaria, Dele Ogundiran, Isaias Alexander Miranda, Dede Newman, Nick Mead, Berner, Alexandra Lemus
Critic’s Rating: 3.5 Stars out of 5
Director: Francisco Ordonez
Duration: 1 hour, 38 minutes
Genre: Crime, Drama, Thriller, Romance
Language: English, Spanish (with subtitles)
Release: 2022, 2024
What’s it about?
A mentally-perturbed money-launderer is tempted to dupe her boss to aid a damsel in distress whom she loves.
Review:
What we have here is a pretty potent crime drama/thriller which is sure not to disappoint. This piece of enthralling pulp fiction is full of romance, malfeasance, betrayals, setups and intrigue - that constitute a convoluted plot. However, the serpentine narrative which appears to typify neo-noir, tends to stretch its suspension of disbelieve a little too much. Still, the film offers a juicy premise which essentially explores how one's love for someone could be so intense that it invites desperate deeds, with mounting stakes and perilous situations. Held together by a complex and scheming central character, this flick keeps the viewer’s eyes and ears engaged most of the time.
The Low End Theory begins with a hiphop music producer Raquel (Sofia Yepes) and her associate Efraim (Rene Rosado) as they unsuccessfully pitch a demo tape to a publisher. The two who currently work for drug dealer Uly (Eddie Martinez), want to go legit by making lucrative music. Raquel who strongly believes in Karma, desires to quit being her boss’ money-launderer. Also, though she is currently in a romantic relationship with Uly’s sister Giselle (Ser Anzoategui), Raquel falls in love with aspiring singer Veronica (Sidney Flanigan). Soon after, Raquel narrowly escapes injury in an attack by a suspected rival gang, that is unable to rob her off Uly’s money.
Raquel views this close call as “a sign” and considers leaving Uly’s organisation. Meanwhile, she confides in Veronica about an unsavoury experience while serving with the U.S. military in Afghanistan and that Giselle was there for her in the ugly aftermath. Nevertheless, Veronica wants Raquel to leave Giselle for her. Meanwhile, Efraim comes to know of the affair but doesn’t tell on Raquel. Suddenly, a distraught Veronica reveals to Raquel that she owes a huge amount money to dangerous gangsters. This prompts Raquel to hatch a plan whereby she secretly robs Uly and uses the money to make the payment… while pointing the finger to her boss’ enemies. Here’s where the plot thickens, transitioning from a soap opera to a crime caper.
Raquel’s robbery implicates other people close to Uly and in the process, endangers their lives. Though reeling from guilt, Raquel’s attempts to cover her own tracks. But the situation worsens when a badly injured Veronica tells her that her persecutors are demanding more cash. Meanwhile, a mysterious person - Nico (Scotty Tovar) - approaches Raquel with a vendetta against Uly. Will Raquel be able to use this opportunity to her advantage? And where does Veronica figure in the escalating conflict? Yes, there are several plot-points to keep the audience guessing as to how things will turn out. Is Raquel in over her head or will she come out on top?
Co-writer and director Francisco Ordonez does not telegraph his punches, nor does he pull any, in delivering this often thrilling ride. At the same time, Ordonez doesn’t go overboard with the violence. Also, he is able to extract a menacing performance from the kingpin Martinez and a textured turn by Yepes, although the mercurial Flanigan steals the show. The film takes a few surprising detours which one initially wonders are fantasy or reality. The occasionally murky cinematography aptly reflects Yepe’s troubled mind the film’s dark theme, with just the right amount of frenetic editing to capture the chaos of the shoot-outs. Still, there is some implausibility like the strange Raquel-Giselle dynamic and Efraim’s thin role. And one is left pondering if Yepes’ notion of Karma actually does come full circle. Ordonez holds out high hopes with this low end theory, hitting somewhere above the mid-point.
