‘Muzzle’ Movie Review
Unpacking ‘Muzzle’: A Complex Blend of Thrills and Missed Opportunities
“You inquired about my relationship with anger. I no longer contend with it; I surrendered to anger a while back.”
Observing the disgraced LAPD officer Jake Rosser (played by Aaron Eckhart) in action, you’d find it challenging to disagree with his perspective. In the opening scene of “Muzzle,” directed by John Stalberg Jr. and co-written by Stalberg and Carlyle Eubank, Jake navigates the streets of Los Angeles, passing by makeshift tent cities lining every sidewalk. As a member of the K-9 unit, he engages in conversation with his faithful dog, Ace, all the while lamenting the sorry state of the world. Jake falls into the category of individuals who bemoan how the word “literally” no longer retains its literal meaning, oblivious to the fact that his complaints lack profundity or originality. He comes across as uninspiring. “Muzzle” boasts numerous intriguing elements left unexplored. The film weaves together a multitude of threads, themes, and plots, seemingly patched together with the hope of coherence. Regrettably, it falls short of achieving that cohesion.
Jake, a combat veteran grappling with PTSD, leads a reclusive and solitary existence. People tend to keep their distance from him. Tragedy strikes when a call takes a terrible turn, resulting in the loss of Ace during a firefight. In a distressing moment, a harried paramedic informs Jake that his beloved dog will have to wait until he tends to an injured person, prompting Jake to lash out at the paramedic. This altercation is captured by onlookers on their cellphones, thrusting Jake into an unwelcome spotlight. His newfound notoriety leads to a suspension from his job and an obligatory visit to a therapist.
“Muzzle” can be categorized as a thriller, but it also delves into character examination and explores the dynamics between police officers and their loyal canine companions. Grief-stricken over the loss of Ace, Jake embarks on a quest to uncover the truth behind the incident, which involved the tragic deaths of multiple police officers, a car explosion, and the discovery of fentanyl canisters amid the wreckage. Along this journey, Jake stumbles upon an underground world populated by dubious individuals, trafficked dogs, and businesses concealing fentanyl production operations.
Jake’s new four-legged partner, Socks, is an endearing yet scarred soul, bearing the trauma of her past mistreatment. She cowers in her cage, her muzzle serving as a haunting symbol of her experiences. In an unexpected way, Jake and Socks share a common bond, their respective pasts uniting them in a unique manner.
In “Muzzle,” there are exhilarating moments when Jake relentlessly pursues the shadowy figures involved, and there are heartwarming instances when Socks gradually opens up to Jake. Notably, some of the film’s standout moments revolve around Jake and Socks during their K-9 training sessions. While this theme of human-canine partnerships has been explored in cinema before, such as in “Turner & Hooch” and others, it’s the underappreciated gem “Megan Leavey” that offers the most profound and comprehensive portrayal of this unique relationship.
“Megan Leavey” skillfully accomplishes what “Muzzle” aspires to achieve: depicting the transformative journey of a seemingly distant or emotionally scarred individual as they learn to open up and connect with their canine companion. The film underscores the necessity of addressing one’s own emotional baggage before taking on the responsibility of training a dog. “Muzzle,” on the other hand, attempts to forge these connections in a formulaic and conventional manner.
The mishandling of the love interest relationship in “Muzzle” exemplifies the film’s underlying issues. Jake, constantly wearing a scowl and projecting an unfriendly demeanor (not to mention his infamy due to a widely publicized altercation with a first responder), encounters a woman, Penelope Mitchell, in the building’s laundry room by chance. Despite her being a nurse with a presumably demanding career, she finds herself drawn to this enigmatic and brooding man. She goes so far as to knock on his door later, offering a sympathetic ear should he ever need to talk. Her sudden outpouring of sympathy and concern for a stranger who has already exhibited a capacity for violence and intimidation appears inexplicable. She appears sporadically in the narrative, disappearing for extended periods without any noticeable impact on the story, only to reappear towards the end. The film makes no effort to imbue her character with depth or provide a compelling reason for her presence in the plot.
The thriller elements in “Muzzle” exhibit some improvement, though the portrayal of the antagonists falls into the realm of caricature. One of them dramatically emerges from obscurity sporting shiny pants and theatrical makeup, reminiscent of Ursa from “Superman.” It’s evident that the film aims to convey Jake’s gradual emotional transformation through his bond with Socks, and to a lesser extent, with the nurse, even though her presence is infrequent and her character lacks depth beyond her caring disposition toward the initially intimidating Jake.
However, Jake’s personal evolution remains inadequately explored, lacking meaningful depth. Surprisingly, Socks emerges as the most emotionally expressive character in the entire film, embarking on a genuine journey of development and healing, setting her apart from the rest of the cast.
Currently screening in cinemas.
Film Credits
Cast
Aaron Eckhart as Jake Rosser
Stephen Lang as Leland
Diego Tinoco as Hernandez
Leslie Black as Councilwoman Pricilla Cross
Penelope Mitchell as Mia
Nick Searcy as Captain Freeman
Grainger Hines as Aldo Damon
Luis Chávez as Aojo
Delissa Reynolds as Det. Ramos
Director
John Stalberg Jr
Writer (story by)
John Stalberg Jr
Writer
Carlyle Eubank
Cinematographer
Pieter Vermeer
Editor
Bella Erikson
Composer
Paul Gallister
By: M Z Hossain, Editor Sky Buzz Feed
