In being billed as a cyber thriller, Left Down Raven Street definitely lives up. But the 119 minute feature film also plays sleight of hand in the tradition of The Sting and House of Games. Not quite those iconic masterpieces, the Peyton Savington production still holds its own, and by film’s end, all the misdirection will leave the viewer in a twist.
Parker Rose (Austin Nichols) is the primary programmer behind a far reaching code that will revolutionize medicine and change the lives of millions of people. We meet him in the opening scene, and obsessively banging away at the keyboard, there’s no way to miss the actor’s brooding determination.
Nichols’ unyielding presentation doesn’t get old either, and with his face obscured by bangs and a constant low lighting, there’s more here than stoicism. A monotone delivering alongside, Parker has got to be hiding something.
Nonetheless, Avery (Katie Evans) lets us all take a breath. A partner in the endeavor, the actress makes sarcasm and frank bluntness highly appealing traits. Thus, Evans has no shame putting the much smarter Parker in his place, and anyone else who tries to infringe. As such, Avery’s powers of persuasion has her essentially steering the ship.
In between, there’s Jesse Wilkins. Kind, sweet and caring, the character’s makeup has her on a collision course that won’t measure up to all the manipulation on the way, and Sydney Kwasa emotes the naiveté to perfection.
Still, there are a number of indie songs that uplift and surround with the innocence of college life. Unfortunately, it’s a juxtaposition that screams denial.
The setup in place, the competing interests are introduced. In the solitude of his darkened room, Parker receives a phone call from Silas (William Phillips), and quoting Edgar Allen Poe, the off-kilter villain affirms that there’s more at stake than bugs and bytes. “You’re running out of time,” he puts the endeavor on the clock.
Even so, expediency isn’t really the factor that elevates the drama. It’s the uncertainty of Silas’ disjointed demands. That said, Parker’s response doubles down too.
The computer genius doesn’t seem overly concerned and this tells us that both sides intend to slug it out. This especially since the head programmer is just as cryptic and conniving as the dark forces he is confronting.
The sentiment is exemplified when Parker’s mirror invades the screen. River Jones is played by Tess Nottlemann, and the actress’ cool and steely delivery definitely goes toe to toe.
Mixed in, there’s Ellis (Tylie Tingelhoff) and Carter Lovejoy (Steph Earhart). Both a bit flighty and carefree, the actresses provide a little comic relief. But given the goings on, duality must underly their performances.
Left Down Raven Street to this point is still a college level excursion, though. But then the film turns pro. Violence, kidnapping and extortion – the coeds graduate for real. The pivotal moment is set in the broad daylight of a nearby forest, which serves two purposes.
While the seriousness of all machinations are now illuminated, the intent and purposes are still obscured in the wilderness, and a fast paced score frantically says it’s flight or fight mode for everyone.
The misdirection now switching into high gear, the competing interests play a furious ping pong game of ice cold resolve. Sociopaths galore, at least the pathology is for a good cause, and when the bodies across the world stop dropping, Left Down Raven Street still applies a cold sting. The only thing that matters is who’s the last man standing.
