Inherit the Viper is an unfortunately titled but acceptably mediocre crime drama about rural siblings Margarita Levieva, Josh Hartnett, and Owen Teague running an opioid business. Levieva’s the merciless boss, Hartnett’s the reluctant muscle, Teague’s the enthusiastic but uninvolved teenager. Everything’s going fine—well, outside the occasional fatal overdose for customers—until Teague decides he’s got to go into business for himself. Only he’s not very bright and his idea is to steal his family’s product to sell on the side, forcing Levieva (who wanted to get Teague involved) and Hartnett (who didn’t) to make some tough, momentous decisions. Renewed interest from local law enforcement (Dash Mihok) and a justifiably enraged recent widower (Brad William Henke) complicate matters.
So, a fairly standard family crime drama.
Andrew Crabtree’s script throws a lot at the characters but in targeted bursts. Viper never overreaches. Crabtree and director Jerjen never do anything they aren’t sure they can successfully execute. The film’s got some great production values—Jerjen, cinematographer Nicholas Wiesnet, editors Gordon Antell and Kiran Pallegadda put some drone shots to great use for establishing shots, showcasing the desolate, failed rural community. Jerjen’s composition for the talking heads scenes, which are most of the film until the final third or so, is usually the same parallel shot, giving the actors each their space. Even though Jerjen’s got the patience for the talking heads and showcasing the actors (really, the film often plays like a demo reel for its stars more than a serious dramatic effort), he never gets in close enough to really look. When Levieva finally shows her humanity, when Hartnett finally shows his fear, Jerjen doesn’t have any way to help the actors rise above the script, which is fairly pat as far as character motivation and development go. Both the script and the direction posit the characters as somewhat tragic, even though the point of Levieva is she would reject that tragedy and it would be consuming the soulful Hartnett, who has a much better understanding of the world—ostensibly due to his time in Iraq War II, but more because the script needs it—than his peers.
Well, except of course how the film then positions other people as the good folks just facilitating the opioid ring without actually getting their hands too dirty (special guest star Bruce Dern plays a bar owner and friend of the family’s absent, smalltime crook dad).
Instead of Levieva or Hartnett, the film focuses on Teague. It’s both a trope—the child grows up—and the most economical. Hartnett getting more of a focus would mean more to do with pregnant girlfriend Valorie Curry and, even though the film starts spotlighting Levieva, she barely gets any character development throughout. And, when she does, it feels like the film’s trying too hard. Because to transcend the material, the script would need to be better and there’d need to be more of a budget (the film looks great, moves well but it’s obviously streamlined as can be). Jerjen does what he can with the constraints the production’s got and it works. The drone shots do get tiring by the end but more because they never really impact how the narrative plays; they’re always technically solid. Especially set against Patrick Kirst’s score.
For over half the film, Viper acts like it isn’t going to rest the whole thing on whether or not Teague can carry it through the third act to the finish, then it hands it off to Teague and, sure, he can get it to the finish but… not spectacularly. It’s a pass and no pass situation. Teague passes, adequate, no reason to rejoice.
Levieva’s the film’s best performance, even with her character going off some rails in the third act. Hartnett’s good, but it’s a propped up majorly supporting role; Teague’s not compelling enough, Hartnett picks up the slack for it. It’s unclear whether Jerjen would be able to do more. He’s got a lot of technical chops as a director and he’s pretty good with the actors, but Viper never seems thoughtful enough. Jerjen’s successfully realizes the script but without any imagination. It’s like he’s too good, technically, to have to be inventive.
Inherit the Viper—the title’s even worse once you find out what it means—isn’t bad, it’s just rote, even with its cast’s solid efforts.