Numerous films have been made about soldiers whose skills and experiences are ill-suited to civilian life. Some of these films explore those differences with compassion and insight; however, more often than not, they exploit them for explosive, vacuous action sequences. “ Rebel Ridge ” largely falls into the latter category.

Written and directed by Jeremy Saulnier (“Green Room”), the film’s focus on a Black soldier adds degrees of complexity to the conflicts that erupt between him and local law enforcement in a small, mostly white town. But if racial politics (cinematic and otherwise) prompt Saulnier to treat him marginally more thoughtfully than most movie veterans, the filmmaker’s obligations to genre formula end up overshadowing those differences by the time the last empty, explosive action sequence has unfolded.

Aaron Pierre (“Genius: MLK/X”) plays Terry Richmond, a veteran of the Marine Corps Martial Arts Program (MCMAP) who’s knocked off his bicycle and detained by two police officers, Marston (David Denman) and Lann (Emory Cohen), while traveling to the town of Shelby Springs to bail out his cousin Mike (C.J. LeBlanc). Marston and Lann confiscate the $36,000 in his backpack, indicating that he can make an appeal to recover it in the next several weeks — a delay that will send Mike to jail, since the deadline for payment is the end of the day. Undeterred, he visits Shelby Springs’ police department to report Marston and Lann for the theft of his money. But before Terry can finish filing his claim, Chief Sandy Burnne (Don Johnson) intervenes and offers him a last-minute opportunity to see Mike before he’s driven to jail.

Upon his arrival, Terry discovers that Chief Burnne misled him: Mike is already gone. After learning from a helpful court clerk, Summer McBride (Annasophia Robb), how to get Mike placed in protective custody, Terry overpowers Burnne and several of his officers within the Chief's own station. He does this to recover his money, which he intends to take to the courthouse. Although the siege doesn't resolve the problem with Mike, it also doesn't escalate Terry's conflict with the local authorities. On the contrary, Burnne and his men become suspiciously helpful. This sudden shift in their behavior only intensifies Terry's curiosity about the seemingly tranquil Southern town. He reconnects with McBride and begins investigating the town's secrets, all while attempting to resolve the situation with his cousin.

It would be remiss not to mention films like "First Blood," the "Taken" series, and even titles like "Walking Tall" that have explored similar premises. However, Saulnier distinguishes his interpretation primarily by making his veteran protagonist a person of color. This choice significantly impacts Terry's actions throughout the film. It manifests not only in his restrained exasperation towards the callous and corrupt white cops who profile and over-police him, but also in the revenge he ultimately exacts. While justified, this revenge casts a different shadow on a Black man's behavior compared to if he were white. Whether intentional or not, Saulnier's script places Terry in a constant struggle to avoid causing white discomfort, both within the film and for the audience. "Rebel Ridge" leaves viewers grappling with the question of whether this is a progressive act of artistic representation (a Black character so skilled and diplomatic that he can effortlessly navigate white spaces) or a somewhat regressive, nostalgic depiction (resembling the Black exceptionalism of the 1960s, à la Sidney Poitier).

Whichever of the two it might be, it diminishes the action's intensity, not to mention the satisfying thrill of seeing corrupt racists meet a violently deserved end. As we learn early in the film, Terry is a survivalist, catching fish from streams for food with his bare hands, and a particularly well-trained one, as an instructor of military martial arts. But as impressive as it may be for him to disarm an opponent or remove the ammunition from a firearm with a quick flick of the wrist, those outcomes are relatively less captivating when he's facing off against a small army of cops who are less afraid of using offensive language in public than they are of pulling a trigger.

There are a handful of action movies that deliberately steer clear of the protagonist using gun violence, but among those that do, “Terminator 2: Judgment Day” and “The Rundown” weave it into the characters and plot in a way that propels the narrative forward. Here, it feels like bumpers in bowling lane gutters: the end goal might be the same, but the journey getting there is less risky — and less exciting.

Saulnier's approach to the action scenes is straightforward and clear. While there may not be a lot of flashy spectacle, viewers always have a clear understanding of Terry's location and the situation at hand. Pierre's performance effectively conveys both Terry's restraint and precision, honed through his training, as well as the simmering frustration beneath the surface. This makes the character consistently sympathetic (especially considering the absurdity of a decorated serviceman being unjustly prevented from aiding a relative in danger). His coiled intensity provides a perfect counterpoint to Johnson's portrayal of Chief Burnne. Johnson, reprising a familiar archetype from films like "Django Unchained," embodies a figure of assumed authority, but one that is not entirely unassailable. Anyone who dares to scrutinize his domain will be met with extreme prejudice.

The film is packed with character actors who relish their supporting roles. However, Robb, as McBride, and Zsane Jhe, as the police department's sole Black woman, Jessica Sims, forge deeper, more nuanced connections with Terry. These connections are notably absent from the relationships with other townsfolk, either intentionally or due to circumstance. Since her breakout roles in "Because of Winn-Dixie" and "Bridge to Terabithia," Robb's film roles have been somewhat limited. However, her performance here demonstrates that her consistent work in television has kept her skills sharp. She transforms McBride into a character far more complex than just Shelby Springs' sole white do-gooder. Similarly, Jhe subverts expectations of race relations in predominantly white spaces, portraying a cop working within Burnne's regime. Her journey, along with Terry's, proves to be one of the most intriguing aspects of the film.

Saulnier's latest film, while undeniably muscular and effective, feels somewhat predictable. Despite this, it reaffirms his reputation for delivering solid, tightly-controlled thrillers. However, like the characters it centers around, "Rebel Ridge" often relies on familiar tropes and instincts. Perhaps a more nuanced or inventive approach could have led to a more satisfying outcome for both the film and its viewers.