Keith (McCaul Lombard) is a con serving out the last year of his drug-related sentence under house arrest. Finally relieved of his ankle monitor (and under the steadying gaze of cinematographer Shabier Kirchner’s smooth-as-ice camerawork) he takes a liberating jog through the streets of Baltimore, savoring his freedom for a sweet moment before his criminal entanglements start to take an incarcerating toll on his life on the outside. Jim Belushi is superb in the small role of Keith’s father, a man admired and respected by everyone but the one individual he loves more than all the others combined. Point is neither a slice-of-life prison reform melodrama nor a character study, and it’s only when conventional thinking begins to surface in the form of a skinhead who has it in for Keith that the otherwise naturalistic pacing takes a turn for the unwarranted hysterical. I was all set to send up a poster-as-spoiler alert, but considering how far out of his way director Matthew Porterfield goes to dodge plot, it’s hardly worth the effort. (2017) — Scott Marks
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