Six years into a 21-year stay in a New York state prison, Colin Warner, the lead character of the new film Crown Heights, is writing a letter.
“Most prisoners know deep down they put themselves here,” he writes. “But I don’t have that comfort.”
Written and directed by Matt Ruskin, Crown Heights uses a 2005 This American Life episode as the basis for its story, charting Warner’s path from freedom to state-sanctioned captivity to freedom once again. The real-life story is harrowing: Brooklyn, New York, police badgered witnesses into falsely fingering Warner for a crime he didn’t commit, and prosecutors used the alternative facts squeezed from those compromised teenage witnesses to send an innocent man to prison for second-degree murder. Once there, he ended up spending more time behind bars than the man who actually committed the crime.
Transposed to a feature-length film, however, Warner’s story loses its gasp-worthy qualities. The film just isn’t biting enough to make Warner a mascot for the race-based injustice that pervades the American criminal justice system.
Instead, it’s a series of prison tropes held together with flashbacks and news clips of American presidents espousing how tough they are on crime. We see Warner (Lakeith Stanfield) struggle to comprehend the loss of agency over his own body as he’s checked into prison, and how he discovers every friendly gesture from a fellow prisoner carries a price. Crown Heights follows Warner’s life from the day he was arrested in 1980 until the day he’s finally released but does little to advance the narrative that black men are systematically victimized by mass incarceration.
Perhaps that’s because Warner, who is West Indian, doesn’t connect his plight with that of American-born black men. If that’s the case, Crown Heights doesn’t effectively communicate that point, and the clearest indication that it’s trying to is the one line from Warner’s letter about prisoners knowing that they put themselves upstate.
We see Warner enter a relationship with a woman, Antoinette (Natalie Paul), whom he eventually marries while imprisoned. But lost are the details that would illustrate how their relationship went from platonic to sexual. Why does Antoinette like Colin so much? What does she feel about him, aside from anguish and pity about his imprisonment? It’s almost impossible to say, because we don’t see it. What’s missing are the small, intimate events of daily life that can slow a film down but are necessary for viewers to connect with its characters.
Former NFL defensive back Nnamdi Asomugha, husband of actress Kerry Washington, co-stars as Carl King, Warner’s friend who never stops working to exonerate him. We see King’s wife get frustrated that King is dedicating so many resources to freeing his friend that he stops paying attention to his own family. But it’s tough to get a sense of how all of these figures are coping with their lots. In the course of making too many safe choices, Crown Heights ends up not saying much at all.
As with previous roles in Short Term 12 and Get Out, much of what Stanfield brings to the screen he communicates through his eyes. Stanfield’s presence introduces a sense of calm and introspection when everything around him is clearly unstable, but Asomugha doesn’t provide enough of a contrast for Stanfield’s quiet suffering.
The story of Colin Warner is a tale of someone’s humanity being disregarded and discarded. Yet Crown Heights fails to push past that initial hook to communicate much else. The inclusion of Clinton, Bush and Reagan is a start, but Ruskin fails to connect their tough-on-crime policies to Warner’s life. In the film’s last political interlude, when the audience has been primed to expect to see the face of George H. W. Bush, Ruskin uses footage of New York Gov. George Pataki instead. This decision only muddles the message. Are these powerful white men responsible for Warner’s imprisonment, or are they mile markers for the time he’s served? Or both?
There are few conclusions to draw from the film aside from “wrongful imprisonment is bad” — and, well, that should be obvious. It’s a shame that beyond that, Crown Heights doesn’t have a whole lot to say.