Known only as Iceman, a newly retired organized crime fixer is pulled back in deeper than he’s ever been before in director and writer Harold Jackson III’s crime thriller Iceman: Book One.
The first thing you notice about Iceman: Book One is that it doesn’t shy away from its major influences. A throwback to the noir films of the ’40s, there are private eyes, femme fatales, murders, and twists, but at the center of it all stands Shaun Woodland as Iceman, a crime ‘fixer’ for the mob. Iceman, whose real name is Bobby, cleans up loose ends and Woodland’s portrayal is a masterclass in understated charisma, tough guy machismo, and surprising vulnerability. He embodies the complexities of his character, making Bobby, who is actually a cold-blooded killer, a relatable and sympathetic protagonist. Fortunately, the supporting cast can keep up with him and deliver strong performances that enrich the narrative, particularly British-born actress Gwendolyn Smith whose plummy English accent as Apollonia means she stands out the most amongst her peers.
Things start to go wrong early on for Iceman who, after a dramatic introduction during one of his fixes, is approached by his childhood friend – the now drug-addled Mikey (a twitchy Michael J. Patterson). Mikey is in trouble and asks for some help, as he is involved in a life-threatening situation. Ice reluctantly agrees and begins to negotiate for his friend’s safety. As the film progresses, Ice gets pulled into a deadly ring of gangsters, murderers, politicians, and a billionaire with a chequered past. Racing against the clock, Ice also needs to find a Lobbyist before he is also killed.
Using his script and direction, Harold Jackson updates the classic noir films, setting his film in a contemporary urban environment. There are some complex and morally ambiguous characters on view here and a lot of darkness, yet what is most engaging about Jackson’s film is its sense of realism. On the negative side, there isn’t a great deal of action in Iceman: Book One, apart from a couple of shootouts. The majority of scenes take place in offices or living rooms. These scenes usually consist of two people talking to each other, leading to a lot of exposition which some audience members may find dreary. However, those who like to listen will be rewarded with some smart dialogue that portrays the dark side of human nature. For all of Iceman: Book One’s faults, Jackson, both as writer and director, is not afraid to show the ugliness and violence of the world with his script effectively serving as a foundation for the film’s characters and themes.
Cinematographer Declan Gerard brings a dark visual colour scheme to Iceman: Book One, and he pays homage to the classic film noir genre. His use of shadow and light, combined with muted colours, creates an atmosphere of intrigue and suspense. Gerard’s camera work is steady and evocative, drawing the audience into the conspiracy, its dimly lit alleyways, and the seedy underbelly of the city. His work here shows he has a fine ability to blend modern sensibilities with classic noir tropes.
Iceman: Book One is a solid neo-noir film with some excellent direction from Jackson and interesting cinematography by Gerard, but it’s Shaun Woodland, giving a very strong central performance, who towers over the film like a bear with a sore head. If this is Book One, then I am very much looking forward to Book Two and more crime stories revolving around Iceman.
