Set in Mississippi in 1966, By Any Means takes place at one of the darkest and most volatile points in American history. Racial tensions are reaching a boiling point, the Ku Klux Klan is operating with terrifying freedom, and violence against Black Americans is becoming increasingly difficult to ignore. Against this backdrop, the film follows FBI agent Wayne Strider (Yahya Abdul-Mateen II), a young Black agent tasked with investigating the murder of a civil rights leader at the hands of the Klan. His investigation eventually leads him to an unlikely partner: Gregory Scarpa (Mark Wahlberg), a white Mafia hitman with a reputation for solving problems through considerably less-than-legal means.
It is a potentially fascinating setup, and By Any Means gets a lot of mileage out of the contrast between its two protagonists. In many ways, the movie resembles a buddy-cop thriller, except there is very little comedy to lighten the situation. Usually, the mismatched-partners formula is built around personalities that clash in amusing ways. Here, their differences are much bigger. Wayne represents the law, while Gregory operates completely outside of it. Wayne wants to follow procedure and do his job correctly, while Gregory has little interest in rules if they stand in the way of getting results.
That difference becomes especially compelling because of Wayne’s position within the world of the film. He is an FBI agent and, technically, an authority figure, but being an authority figure does not mean that he is treated like one. As a Black man in 1966 Mississippi, Wayne is routinely dismissed, questioned, profiled, and treated with suspicion by the very people he is supposed to have authority over. Even white civilians who should have reason to cooperate with him often have little interest in listening to him.
The film repeatedly emphasizes how difficult it is for Wayne to do his job when the institutions around him are either unwilling or unable to take him seriously. There is also the familiar scene in which a black person is pulled over by a white police officer at night for essentially no reason. It is a sequence we have seen in countless films about this period, but By Any Means uses it effectively to establish the fundamental difference between Wayne and Gregory. Wayne tries to handle the situation, not only as a police officer but as a Black man trained to follow the rules. Gregory has absolutely no interest in doing so.
That moment encapsulates their entire relationship. Wayne is trying to work within a broken system, while Gregory is willing to break every rule imaginable to accomplish the same goal. Gregory’s character is particularly interesting because, despite being a Mafia hitman and an unapologetic murderer, he is not motivated by the same hatred that drives the Klan. He has no problem threatening or hurting the white men who attempt to intimidate or harm Wayne. That does not make Gregory a hero, but it does create an intriguing moral distinction. The film isn’t suggesting that he is a good person. Instead, it uses his willingness to operate outside conventional morality to give Wayne an ally who can fight fire with fire.
The most interesting idea in the movie, then, is whether Wayne will gradually become more like Gregory. That arc gives the story much of its dramatic potential. Wayne begins as a by-the-book agent who believes that doing his job properly can make a difference. Gregory represents the opposite philosophy: sometimes the only way to beat people who refuse to play by the rules is to abandon the rules yourself. Watching Wayne navigate that conflict is arguably more compelling than the murder investigation itself.
Unfortunately, By Any Means doesn’t always explore that idea as deeply as it could. The screenplay works well enough, particularly when the film gets violent, but many of the dialogue-heavy scenes feel more familiar than provocative. Considering the historical setting and the enormous issues surrounding these characters, there are opportunities for conversations that could have been genuinely thought-provoking. Instead, the movie often settles for the expected exchange before moving on to the next plot development.
The same is true of the relationship between Wayne and Gregory. Yahya Abdul-Mateen II and Mark Wahlberg make for a compelling pairing, and both performances work. Abdul-Mateen is particularly reliable at bringing weight and intensity to Wayne, while Wahlberg fits naturally into Gregory’s more intimidating presence. But their dynamic could have developed into something much more emotionally complex. The movie has the foundation for a fascinating relationship between two men who could not be more different, yet it doesn’t always push that relationship as far as it could.
The racial violence is also difficult to watch, as it should be. By Any Means doesn’t shy away from the brutality of the period, and the violence serves as an important reminder of the environment in which Wayne is trying to operate. At its best, the movie understands that the greatest obstacle isn’t simply finding the people responsible for these murders. It’s trying to pursue justice in a society where justice is not equally available to everyone.
Ultimately, By Any Means is a solid film that doesn’t quite become a great one. There is a strong premise, two capable leads, and an interesting central conflict between following the rules and doing whatever is necessary to survive. When the movie embraces its thriller elements, it works particularly well. But its dialogue, drama, and character development rarely rise above what we’ve seen in other films dealing with this period of American history.
There isn’t much that’s outright bad about By Any Means, but there isn’t quite enough that feels exceptional either. Its biggest strength is the relationship between Wayne and Gregory and the question of how much Wayne is willing to compromise his principles. That’s a good idea, and portions of the film make it work. I just wish the screenplay had dug deeper into it.
Still, with strong performances from Abdul-Mateen II and Wahlberg and a compelling historical backdrop, By Any Means remains a solid, worthwhile thriller, even if it ultimately feels more familiar than unforgettable.
SCORE: 6/10
As ComingSoon’s review policy explains, a score of 6 equates to “Decent.” It fails to reach its full potential and is a run-of-the-mill experience.
Disclosure: ComingSoon attended a press screening for our By Any Means review.
