Indonesian director Mouly Surya’s “Trigger Warning” arose from a screenplay from three scribes: John Brancato, Josh Olson, and Halley Wegryn Gross—and it feels like it. No sooner than that chase sequence, this rural revenge thriller becomes vague. Parker receives an urgent call from Jesse (Mark Webber), the town sheriff, who informs Parker of her father’s sudden death in a mine collapse. She races home to discover a possible suicide note from him and to take over the bar he left. Despite these details, the facts aren’t adding up for Parker. Her father was a former Green Beret, yet the mining accident was supposedly caused by him losing the pin to a grenade. There are also vicious weapons—machine guns, RPGs, and grenades—mysteriously making their way into the area.
“Trigger Warning” is a self-serious, brooding film without the wherewithal to know how righteously dumb it could be if it committed to the bit. Or, at least, the expertise to elevate it to the suspenseful level it so desperately aims to reach.
I can personally take a threadbare script—give me light backstories and basic character motivations any day. What I can’t take is an erratic script. The discrepancies spring up often in “Trigger Warning,” most often occurring with the Shaw family. After some investigating, Parker discovers footage her father took with hidden cameras of Elvis Shaw (Jake Weary) making illegal arms deals with domestic terrorists. We take a long roundabout way toward Elvis’ father Senator Swan (Anthony Michael Hall), who’s running for re-election, and Elvis’ brother Jesse’s involvement. Nothing about them makes much sense. How is Elvis testing heavy duty arms by an army base? Why is Senator Swan so interested in Parker’s endorsement? But most all, why are we supposed to be rooting for Parker? The vagueness of her background is often played for laughs. But truly, I want to know the basics of why anyone should find empathy with a shadowy killer like Parker.
It’s clear that Surya is often fighting against the limitations of her budget and her script. Her previous feature, “Marlina the Murderer in Four Acts,” a rural Indonesian thriller, premiered at Cannes and was selected as Indonesia’s submission for the Academy Awards. She uses that experience well here. Apart from the rickety VFX-heavy scenes, Surya conjures some handsomely mounted shots: the mountainous surroundings, dusty roads, and wooden interiors are warmly captured. Where the action sequences, big shootouts across this small town, fall short, the character-driven sequences, scenes in worn bars and quaint homes, are wonderfully understated.
