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Payback’s a Bee-yotch

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The Rivals of Amziah King

by George Wolf

Back in 2019, Andrew Patterson’s debut feature The Vast of Night was a welcome surprise. Meticulously crafted with a detailed throwback vibe and some snappy dialog, it got me excited for what Patterson had in store.

We finally get his second feature with The Rivals of Amziah King, and once again, I am charmed.

His timeline shifts to present day, and the setting moves from New Mexico to Oklahoma for an adventure filled with rousing roots music, the basics of beekeeping, a Southern Gothic mystery and one clever plan for revenge.

Matthew McConaughey is electric as Amziah King, a rural beekeeper, musician and all around character who’s asked to help find the rightful owner of twenty barrels full of stolen honey. But after some absurdist violence, a reconnection with his former foster daughter Kateri (Angelina LookingGlass in a captivating debut) and a memorable pot luck/jam session, King finds his own bee colony has been lifted.

Kateri’s affection for King as a father figure has never wavered over their years apart, and she commits herself to payback for the guilty party. And she’s pretty sure the trail will lead right to local tycoon Dob McCoy (Kurt Russell).

Patterson has a delightfully unique brand of storytelling, one that retains a youthful innocence no matter what adult themes are being juggled. His wordplay is fresh and often deadpan funny, and his camera can oscillate between fluidity and bits of slo-motion for effect.

Two films in, it’s clear Patterson is a skilled world-builder. And here, that world is a small Oklahoma community with many interconnected parts and memorable personalities. The parallels that Patterson draws with bee colonies are clear but not force-fed, and his wonderfully eclectic ensemble makes it a kick to follow them around.

Patterson seems to be enjoying the bigger canvas for his second film, with a few strands of excess and a 130-minute run time that does get a tad bloated when we reach some odes to Huck Finn in Act III. But it always feels in service of a big swing and a committed vision, and that will always bee easy to forgive.

Yes, bee.

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Long Distance Dedication

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The Vast of Night

by George Wolf

The Vast of Night wastes no time in transporting you to another world.

Opening with vintage Rod Serling welcoming us to “Paradox Theatre,” director Andrew Patterson unveils an incredibly polished debut, one that’s full of meticulous craftsmanship, effective pacing and wonderfully engaging storytelling.

Picture the small town of Cayuga, New Mexico in the 1950s. As the gymnasium stands are filling up for the night’s big high school basketball matchup, a smooth-talking radio DJ and a wholesome teen have stumbled onto something very, very big.

Fay Crocker (Sierra McCormick) is filling in for the local telephone operator as WOTW’s nighttime show with Everett “The Maverick” Sloan (Jake Horowitz) playing in the background. But a strange transmission is also coming through the radio, and Fay lets Everett know about it.

Everett opens the mic to ask if any of his “five listeners” can identify the sound, and Billy (Bruce Davis) calls in with a mighty big story to tell. Mabel (Gail Cronaur) has one, too, leading Everett and Fay off into the New Mexico night to search for answers.

Peterson’s commitment to production and sound design results in a totally immersive experience. The period details – from costumes to recording equipment – are more than just historically correct. Paired with the rapid-fire, comfortably lived-in dialog from screenwriters James Montague and Craig W. Sanger, they create a throwback setting that charms without the tell of undue effort.

Peterson also flexes confidently behind the camera, moving from extended tracks to slow pans to quiet stills, all in service of the film’s wondrous tone. With McCormick and Horowitz leading a stellar ensemble, what could have been a generic sci-fi time filler becomes a smart parable with an eerie grip.

The Vast of Night is a film about listening. To each other, to the stars, to the ugly secrets of our past and to the great possibilities of our future.

And speaking of the future, Andrew Patterson has a bright one.