Mob Land Work Site

Enter Sheriff Trey (John Travolta), the aging lawman with a bad back and a heavy conscience. Travolta, submerged under a gray beard and world-weary eyes, acts as the conscience of the film. Mob Land becomes a three-way standoff: The desperate family man, the implacable hired killer, and the dying breed of small-town justice. Unlike classic mob movies set in Manhattan high-rises or Vegas casinos, Mob Land is distinctly rural. The cinematography highlights empty highways, shuttered factories, and decaying churches. Director Nicholas Maggio uses the landscape as a character—a "Mob Land" that is not glamorous but terrifyingly real.

If you go into Mob Land expecting The Godfather , you will be disappointed. If you go in expecting a grim, modern Western where the "cowboys" wear hoodies and steal pills, you will find a hidden gem. "Mob Land" is a fluid target. One hundred years ago, it was a speakeasy in Chicago. Thirty years ago, it was a boardwalk in Atlantic City. Today, it might be a quiet trailer in Alabama or a scam call center in Eastern Europe—or the screen you are watching this movie on. Mob Land

The keyword "Mob Land" serves as a warning. Wherever there is desperation, wherever the economy fails, and wherever law enforcement is stretched thin, the mob will plant its flag. The landscape changes. The location shifts. But the turf war for the soul of the American working class continues. Enter Sheriff Trey (John Travolta), the aging lawman