Mo McRae’s directorial debut, A Lot of Nothing, is a movie that lives and breathes in the uncomfortable silence between what we say we believe and what we actually do when the pressure hits. It’s a thriller. It’s a satire. Honestly, it’s a bit of a nightmare scenario for anyone who has ever looked at their neighbors and wondered what’s really going on behind their perfectly manicured hedges.
The film stars Y'lan Noel and Cleopatra Coleman as James and Vanessa, a wealthy, successful Black couple living in a beautiful home. Their lives are curated. Their kitchen is impeccable. But then they see a news report. Their neighbor, a white police officer named Brian (played by Justin Hartley), has been involved in the shooting of an unarmed Black child.
Vanessa can't let it go. James wants to be logical. What follows is a messy, chaotic, and deeply polarizing spiral into a "citizen’s arrest" that goes wrong in every possible way.
What A Lot of Nothing Gets Right About Modern Tension
Most movies about police shootings focus on the streets or the courtroom. This one stays in the living room. It’s claustrophobic. By keeping the action confined largely to James and Vanessa's house, McRae forces the audience to sit with the hypocrisy of the characters.
You’ve probably seen movies where the protagonists are "perfect" victims or heroes. Not here. James and Vanessa are deeply flawed. They are elite. They are somewhat disconnected from the community they claim to be defending. This creates a friction that makes the movie feel dangerous. It isn't just about "us vs. them"; it's about "us vs. ourselves."
The cinematography by John S. Moye uses long takes that make you feel like you’re trapped in the house with them. There's no relief. No quick cuts to let you catch your breath. Just long, wandering shots that track the escalating panic as their plan—if you can even call it a plan—disintegrates.
The Problem With Modern "Social Thrillers"
We’ve seen a lot of movies lately that try to be the next Get Out. Some work. Most don't. The ones that fail usually do so because they lecture the audience. A Lot of Nothing avoids the lecture by making everyone look bad.
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Brian, the cop, isn't a cartoon villain. He’s terrifying because he’s mundane. Justin Hartley plays him with a chilling, frat-boy-gone-wrong energy. He’s the guy you see at the grocery store. He’s the guy who waves at you while he’s getting his mail. When the power dynamic shifts and he’s tied up in James and Vanessa’s home, the movie doesn't give you the catharsis you expect. Instead, it makes you feel sick.
It’s a bold choice.
Many viewers went into this expecting a revenge fantasy. They didn't get it. Instead, they got a mirror. The film asks: If you had the person you hated most in your power, what would you actually do? Most of us like to think we’d be righteous. The reality is usually much more pathetic and disorganized.
Breaking Down the Performances
Y'lan Noel is a standout. You might know him from Insecure, where he played "Dro." Here, he’s totally different. He’s a man trying to maintain his status, his composure, and his morality all at once. He’s literally sweating through his expensive shirts as the movie progresses.
Cleopatra Coleman is the engine of the film. Vanessa is the one who pushes the boundary. She’s fueled by a mix of genuine righteous indignation and a weird, ego-driven need for action. Her performance is erratic in a way that feels incredibly human. She’s not a strategist; she’s a person who is tired of being quiet.
Then you have Shamier Anderson and Lex Scott Davis as Jamal and Candy. They show up halfway through and completely change the energy. Jamal is James's brother, and he represents a different perspective on Black life in America—one that isn't as shielded by wealth. The chemistry between these four characters is where the movie’s best dialogue happens. It’s fast. It’s mean. It’s funny in a dark, twisted way.
The Script’s High-Wire Act
The screenplay, co-written by McRae and Sarah Kelly Kaplan, moves like a stage play. It’s wordy. Some people hate that. They think it’s too "theatrical." But in the context of a home invasion where the "invaders" are the owners, the talk is the weapon.
They debate ethics while holding a gun. They argue about property values while a man is bleeding on their floor. It’s absurd.
- The pacing: It starts slow, almost like a prestige drama.
- The shift: Once the neighbor is in the house, it becomes a dark comedy of errors.
- The climax: It’s polarizing. Some critics felt the ending didn't land. Others thought it was the only way it could have ended.
Why Some People Hated the Ending
Let’s be real. A Lot of Nothing didn't break the box office. It has a mixed rating on Rotten Tomatoes. Why? Because it refuses to give a clear "win."
In a typical Hollywood movie, the bad guy gets punished and the good guys walk away with a lesson learned. McRae doesn't give you that. He leaves you in the mess. The ending suggests that there is no clean way out of the cycles of violence and systemic racism.
Some people found this nihilistic. I find it honest.
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If the movie ended with a heroic victory, it would be lying to you. The title itself is a clue. All of this effort, all of this trauma, all of this debating—does it actually change the system? Or is it just a lot of nothing?
Technical Brilliance on a Budget
It’s worth noting that this was an independent production. You can tell they didn't have a $100 million budget, but they used what they had brilliantly. The lighting is specific. The house itself feels like a character—cold, modern, and increasingly like a cage.
The sound design is also worth mentioning. The ambient noise of the neighborhood—sirens in the distance, dogs barking—contrasts with the suffocating silence inside the house. It reminds the viewer that while this drama is life-ending for the people inside, the rest of the world is just moving on.
Key Takeaways from the Film’s Themes
- Performative Activism: The film ruthlessly mocks the idea of "doing something" just to feel better about yourself.
- Class vs. Race: It explores how wealth can provide a temporary shield against reality, but that shield is incredibly thin.
- The Nature of Justice: Is justice possible in a private setting, or is it just kidnapping?
How to Watch and What to Look For
If you’re going to watch A Lot of Nothing, don't go in expecting a standard thriller. Don't expect Don't Breathe or The Purge.
Watch it as a character study. Look at the way James and Vanessa interact with each other. Their marriage is a central part of the story. The stress of the situation rips the mask off their relationship. You see the resentment that was there long before the cop ever walked through their door.
Pay attention to the background details in the house. The art on the walls. The books on the shelves. Everything is designed to show a specific "image" of success. As the movie goes on, that image is literally and figuratively smashed.
Actionable Insights for Cinephiles
If you're a fan of social commentary in film, you need to add this to your watchlist alongside movies like Blindspotting or Sorry to Bother You. It occupies a similar space but with a much more cynical edge.
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- Compare and Contrast: Watch it back-to-back with Get Out. Notice how Jordan Peele uses horror tropes while Mo McRae uses the "thriller" format to reach different conclusions.
- Study the Long Takes: If you’re a film student or hobbyist, the camera work in the first twenty minutes is a masterclass in building tension through movement rather than editing.
- Discuss the Ethics: This is a great "group watch" movie. The debate you'll have afterward is usually better than the movie itself. Ask your friends: What would you have done?
The movie is currently available on various streaming platforms like Hulu or for rent on Amazon. It didn't get the massive theatrical run it probably deserved, but it’s finding a second life on digital.
Final thoughts on the impact: A Lot of Nothing is a jagged, uncomfortable, and often brilliant piece of filmmaking. It doesn't care if you like the characters. It doesn't care if you feel good when the credits roll. It just wants to make sure you're thinking about the absurdity of the world we've built.
To get the most out of your viewing experience, pay close attention to the dialogue in the second act. The shift in power dynamics between the two couples—James/Vanessa and Jamal/Candy—reveals more about the film's core message than the central conflict with the police officer. Notice how the internal hierarchy of the group shifts based on who is willing to take the most "radical" action. This internal friction is the true heart of the story. Once you've finished the film, research Mo McRae's interviews regarding the ending; his perspective on the "lack of resolution" provides a necessary context for why the film chooses to leave so many threads dangling. It’s an intentional choice designed to mirror the unresolved nature of the social issues it depicts.