Boneyard Review: A Flawed Yet Well-Intentioned Tribute

The 2024 film Boneyard drew inspiration from a haunting true crime case in Albuquerque, New Mexico. Between 2001 and 2005, eleven women and girls went missing in the area. Tragically, their remains were discovered four to eight years later, in 2009, buried in an arid stretch of desert known as the West Mesa. The victims, aged 15 to 32, had been sexually assaulted and brutally murdered. Though police questioned persons of interest, this heinous serial killer remained at large.

Directed by Asif Akbar, Boneyard tells a fictionalized story based on these unsolved West Mesa murders. It brought together anecdotally a cast led by Mel Gibson as an experienced FBI profiler named Pete and Curtis “50 Cent” Jackson as the local police chief. Gibson delivered a seasoned, gritty performance, but Jackson struggled more in his substantial role.

The movie followed police detectives and federal agents racing to identify the perpetrator before any other lives could be lost. Yet criticisms emerged that the multilayered plot juggled too many characters and subplots in its attempt to honor the real case. Overall, Boneyard decidedly respected the victims and general facts of its dark muse but fell short as a truly compelling thriller, perhaps due more to its writing than execution.

Boneyard’s Twisted Trail

Director Asif Akbar aimed to honor the true events that inspired Boneyard while shaping a story that kept viewers engaged. At the film’s center was the grisly discovery that unearthed unsolved killings from years past. Reawakening this cold case called seasoned lawmen to action once more.

Leading the charge were seasoned FBI profiler Pete and his local partners, Detectives Ortega and Young. Despite initial tensions, these detectives and feds tracked clues towards uncovering a serial offender. Their pursuit wove through a web of suspects, from unscrupulous cops to lonely outsiders viewed as possible perps.

Each character bore scars of their own relating to past tragedies, adding gravity to their mission. For Pete, especially, a personal need for answers to other unsolved crimes drove his determination. Through flashbacks, we saw what fueled different players to demand the truth.

Though most suspects proved false leads, the cat-and-mouse game kept viewers guessing. Twists left the real culprits’ identities in doubt until the end. Subplots detouring to explore side characters sometimes muddied the core mystery’s momentum. But richly drawn figures gave depth beyond stereotypes often seen.

While failing to solve the real West Mesa crimes, Akbar’s adaptation tugged the threads of this poignant case into a suspenseful yarn. Not every piece was neatly tied together, but his efforts reflected lives lost with compassion, not exploitation alone.

Strong Starts, Mixed Finishes

Director Asif Akbar clearly courted big names to captivate viewers, with Mel Gibson and 50 Cent topping the bill. Gibson lived up to the hype as seasoned FBI agent Pete, projecting grit and worldweariness through each scene. Despite his age, he stayed committed—one felt Pete’s drive to achieve justice.

Jackson nonetheless struggled in his sizable role as Police Chief Carter. Fine early, later lines felt stilted. While the part called for gravitas, his delivery didn’t convince. Thankfully, supporting work offsets this. Brian Van Holt owned the scenes as pragmatic lead detective Ortega, guiding action with composure. Nora Zehetner was equally absorbed as his partner, tackling roles with subtle skill.

Between them, these two detectives anchored the story’s human side. Their interplay gave the twists and turns a heart beyond procedural details alone. Elsewhere, Michael Sirow oozed smarm, playing unlikable Officer Tate to the hilt, while Camille Collard brought depth as streetwise Selena beyond what could’ve been a stock figure.

Minor roles too fleshed out the world, avoiding stereotypes. Subplots around department corruption felt realistic, not forced drama. Yet stretching character arcs too widely muddled some mysteries that might’ve stood out with tighter focus. And where the script left openings, not all grasped opportunities to shine through.

In the end, the director and cast aimed high by raising intricate issues, not exploiting true events. Strong starts made for an engaging, if imperfect, whole, with seasoned talents compensating where flaws arose. Not a masterpiece, but efforts to handle sensitive topics responsibly merit acknowledgement.

Flashes of Flair Amid Flaws

This film had flair to spare technically, even if structural flaws hindered it. Behind the camera, Asif Akbar toyed with styles that seemed fit for TV—handheld cameras whipping around chaotically. At its best, this lent an urgent realism. Yet less steady shots grew strained and distracted from the unfolding story.

Joshua Reis shot with an eye for atmosphere. Gritty scenes in Albuquerque’s urban sprawl or the desolate desert evoked a true sense of place. Clever contrasts between sepia-toned nostalgia and brighter hues poking through clouds pumped mystery into the air. But tonal shifts didn’t always align logically and muddied understanding at times.

Where visuals excelled, edits let suspense flag. RJ Cooper sliced sequences together at breakneck pace, keeping interest. But reflexive cutting overlooked establishing vital context, like how clues connected across the puzzle. The result felt half-finished—moments clicked, but the full picture stayed blurred.

Had these flavors fused into a cohesive vision, this could’ve been something special. As is, flashes of flair emerged but never joined to full effect. Strong images and tense patches hinted at depth, yet direction and structure failed to weave them tight. Creative styles served well individually, even if the whole remained less than the promising parts suggested. With surer hands shaping its potential, this tale of lives lost to violence might have lingered longer in memory.

Capturing a True Crime’s Essence

Boneyard aimed to honor the victims of a notoriously unsolved case. But crafting drama from reality often demands some departure from facts. So how closely did this film align with the disturbing true events that inspired it?

The West Mesa Bone Collector murders remain an open wound in Albuquerque. Between 2001 and 2005, 11 vulnerable women met untimely ends, their remains discarded in the desert. While suspects were interviewed, the perpetrator was never brought to justice. This grim puzzle left me pondering what horrors these souls endured and whether peace could come.

To weave a story around such darkness, the script took liberties. It condensed a five-year span into a more concentrated timeline and fashioned composite characters whose real identities were unknown. These changes permitted focusing on the narrative arc. However, the essence of the crimes remained the same: disadvantaged females went missing without explanation from the same forsaken place, leaving devastated families and a confounded community.

Boneyard also embraced the gruesome details that gave the real case its bone-chilling intrigue. Finding partial skeletons scattered across the waste ground conjured a shudder, as did considering the last moments these women knew. While heightened for drama, depictions of the killer stalking victims and their shallow roadside graves clung close to documented facts. This gritty verisimilitude gave weight to individualizing each lost soul, even through fiction.

Ultimately, the film honored the West Mesa 11 by keeping their nightmare at its core. Sticking to a basic timeline, location, and victimology ensured their stolen lives drove the larger tale, rather than being supplanted or forgotten. Within the constraints of crafting cinema, Boneyard authenticated the human toll of this mournful saga, affirming that some small solace can come from remembering the real people behind real tragedies.

True Crime’s Tragedy and Triumph

Boneyard delved into unsolved suffering, seeking meaning where justice failed. Its purpose? Honoring innocence stolen while proving darkness can inspire light if memory persists.

This thriller transported haunting realities yet left questions unanswered, as with the West Mesa 11 still awaiting salvation. Its narrative, though imperfect, kept sacrifice at the fore by humanizing each soul through name and qualities alone recalled.

Fragmented clues surveying the story stretched credulity at times. And fragmented storytelling stretched the tale thin, with plot sacrificed for character moments belabored. But character is all the real victims left behind. Therein lay the film’s victory—sustaining eleven faces in an audience’s mind and ensuring none faded nameless into the desert sand.

The film’s finale emerged fittingly bittersweet. Resolution remained distant as the crimes remained unsolved in life. But tribute preserved what investigation could not—a memorial reminding us that while monsters walk free, their prey live on in hearts unwilling to forget. Some good can rise, it seems, from memories of evil and the mission to maintain them.

Though its craft left gaps, Boneyard embraced a worthy vision: that even imperfect art, by honoring haunting histories, can help keep hope alive for Justice’s day and provide solace that some light still shines in immense darkness.

Tales, True or Tall: Boneyard’s Mixed Legacy

Boneyard tackled a disturbing true crime, seeking to honor victims by facing dark details. Its strengths lay in maintaining real victims’ humanity against the urge to abstract into symbols. Yet this story remained too imperfectly told.

Conflicting accounts and an excess of plot threads left its narrative arch convoluted and lacking cohesion. Strong performances from seasoned talent like Gibson were undermined by weaker counterparts and the stilted delivery of demanding dialogue. While its unsolved ending mirrored real life, narrative loose ends frustrated where tighter scripting could have satisfied.

As a thriller, it succeeded least in generating that edge-of-seat dread defining the genre. Technical elements like cinematography were not enough to overcome shortcomings in pacing and atmosphere. And an overabundance of padding seemed to be aimed more at spotlighting the cast  than serving the story.

In the end, this film became just another B-flick exploiting tragedy, not the respectful tribute it envisioned. Still, the faces and names it sustained from obscurity may provide families with a modicum of solace. Its uneven yet earnest bid to transform trauma into testimony merits some recognition, even if the final product fell far from its high-minded hopes. As with the case it depicted, justice remains incomplete, but memory survives, and that is no small matter when dealing with lives cut short.

Some tales demand better telling than this to be done with full honor. But perhaps the weakest yarn, when recounting truths too terrible, still bears a duty—to remind us that behind all facts lie people, and as long as one still recalls their names, no evil can ever wholly erase them.

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