“The Standoff at Sparrow Creek,” the writing-directing characteristic debut of Henry Dunham, strands seven actors in a warehouse to bark exposition at each other. Listening carefully is important: The monotonously darkish visuals barely perform to hold the story on their very own.
The warehouse comprises the arsenal of a covert militia; the members assemble there after studying of a capturing spree. It appears some militia member from someplace has attacked a police officer’s funeral, focusing on the useless man’s colleagues. Missing inventory quickly reveals that the killer is one of them.
For baffling causes, Gannon (James Badge Dale), an ex-cop whose presence in the group ostensibly ensures safety from infiltration by undercover officers, is trusted to take cost of interrogations — a job that in impact requires checking off a record of contrivances. The first man he questions gained’t have achieved it; the film could be over. Another suspect (Robert Aramayo) is conveniently believed to be mute.
While it could be unsporting to quibble over implausibilities, which start with the concept that the cop’s funeral was being held at night time, the gaps in logic is likely to be simpler to forgive if the film’s real-world resonances weren’t so troubling. The plot creates a context in which these characters’ fears — of false-flag operations and state tyranny — are absolutely justified, and their motives for stockpiling arms finally look prescient.