‘By Any Means’ Review: A Mississippi Manhunt Struggles with Tone and Execution

Mark Wahlberg and Yahya Abdul-Mateen II lead the cast in this new crime thriller directed by Elegance Bratton, which arrives in theaters as summer counterprogramming with a premise that seems almost irresistible. Set in 1966 Mississippi, the film follows a young Black FBI agent who must form an uneasy alliance with a mafia hitman turned informant while pursuing the killers of a civil rights leader.

The dynamic between a by-the-book federal agent and a violent, morally ambiguous enforcer against the backdrop of Klan terror presents a high-concept narrative that could easily sustain an entire series, let alone a two-hour film. Bratton, working from a script by Sascha Penn, clearly grasps the historical weight he is dramatizing, and the film’s opening effectively immerses itself in period detail with genuine intent.

However, this grounding does not persist. As the plot unfolds, ‘By Any Means’ shifts sharply into a pulpy, fast-paced revenge narrative, and the tonal dissonance between somber historical drama and popcorn entertainment never fully resolves. The film seems to be pulled in two directions, with neither side emerging victorious.

Yahya Abdul-Mateen II stands out as the film’s most reliable performer. His agent embodies genuine conflict, caught between institutional duty and the frustration of witnessing justice move slowly while bodies accumulate, and he conveys that tension without overdoing it. In contrast, Wahlberg embraces pure bravado, exuding clenched jaw and simmering menace; while entertaining at times, it rarely feels like a fully realized character lies beneath the performance.

The supporting cast performs better than the screenplay warrants. Giancarlo Esposito lends gravity to a role that could have been minor, and David Strathairn fits into a quietly authoritative role that seems effortless for him. Unfortunately, many of these characters lack the space to develop beyond their plot functions, reducing what should be a character-driven story into a series of incidents.

The film falters most in its portrayal of violence and history as spectacle. Scenes intended to illustrate the era’s brutality sometimes veer into stylized catharsis, creating an uncomfortable effect that feels unintentional. A narrative so deeply rooted in real atrocities deserves a more skilled hand than the one guiding its bloodier sequences, and the film’s attempt to balance prestige drama with vigilante thriller undermines its own ambitions.

Cinematographer Ante Cheng captures Mississippi with a sun-bleached, oppressive aesthetic that tells much of the story on its own, while Terence Blanchard’s score adds a mournful undertone that the script occasionally neglects to earn. When visuals and music align with the material’s weight, the film hints at a sharper story lurking within. Unfortunately, these moments do not coalesce into a cohesive whole.

By the time the investigation reaches its conclusion, the film has sacrificed much of its historical depth for a more conventional shootout structure, and the final act feels rushed compared to the opening’s patience. It aims to resonate as both a poignant commentary on America’s past and a satisfying genre piece, but its dual aspirations leave it somewhat lacking in both respects.

I left ‘By Any Means’ appreciating its ambition more than its execution, buoyed by a genuinely committed lead performance from Abdul-Mateen II and a premise that warranted a tighter, bolder script. It stands as a watchable, occasionally gripping thriller that never fully determines its identity, and that uncertainty prevents it from being truly memorable. My score lands at 7 out of 10.

Have you seen ‘By Any Means’ yet, and does this partnership between agent and hitman resonate with you? Share your thoughts in the comments.