Head of State

Head of State arrives as a comedy directed by Chris Rock, and its first strength is a clear sense of purpose. Chris Rock and Bernie Mac give Head of State a recognisable human centre before the larger mechanics take over. The central situation in Head of State comes into focus without a long explanation: When a presidential candidate dies unexpectedly in the middle of the campaign, Washington, D.C. alderman Mays Gilliam is unexpectedly picked as his replacement. Across its 1h 35m running time, Chris Rock keeps Head of State unable to turn workable ingredients into a stable rhythm.

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The acting in Head of State is anchored by Chris Rock, who treats even functional scenes as opportunities to reveal character. Bernie Mac answers that approach with a different energy, giving Head of State welcome friction whenever the pace begins to settle. Around them, Lynn Whitfield helps Head of State feel like an ensemble piece rather than a vehicle with decorative support. Under Chris Rock, the performances in Head of State share a tone even when the writing gives them unequal depth.

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Head of State gains much of its identity from comic timing built around character, a choice that makes the world readable as well as attractive. The contribution of Dreamworks Pictures allows Head of State to combine comic timing built around character with a consistent visual language. Within its United States setting, Head of State makes particularly good use of well judged reactions when the story needs to change scale. Sound and editing preserve the personality of Head of State by supporting detail instead of announcing every intended response.

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Rather than summarise every event in Head of State, it is enough to note how Washington places Mays Gilliam under growing pressure. Chris Rock gives that tension a face, which stops Head of State from becoming a mechanical sequence of developments. Chris Rock uses the central character to widen the stakes of Head of State without losing sight of the original problem. Where an important relationship becomes predictable, Head of State recovers interest through the consequences surrounding it.

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Head of State uses its comedy framework to consider embarrassment, status and the gap between confidence and reality. For the character played by Chris Rock, that idea gives Head of State stakes beyond the next immediate obstacle. The recurring pressure of Mays Gilliam prevents the theme in Head of State from feeling like decoration added after the story. Chris Rock makes Head of State more thoughtful whenever the implications remain inside action and reaction.

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As director of Head of State, Chris Rock proves unable to turn workable ingredients into a stable rhythm in the transitions between intimate material and larger demands. A strong scene in Head of State often begins with a modest detail before Chris Rock lets its meaning expand. For Head of State, the premise retains appeal even when the finished film struggles because the central tone remains visible even during busy passages. The weakness in Head of State is that explanation repeatedly takes the place of discovery, although Chris Rock usually finds the original rhythm again.

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The lasting judgement on Head of State is a missed opportunity rather than a complete failure for comedy fans who respond to personality and timing. Head of State earns that response through the focus of Chris Rock, the contribution of comic timing built around character and the direction of Chris Rock. It remains true that explanation repeatedly takes the place of discovery during Head of State, which keeps enthusiasm measured. Still, Head of State understands the experience it wants to create and communicates that intention with recognisable personality.