Waco: American Apocalypse movie review (2023)
Minutes after the first episode slams “DIRECTED BY TILLER RUSSELL” on the screen, “Waco: American Apocalypse” gets into the 51-day standoff between heavily armed cult leader David Koresh, his Branch Davidian followers, and American armed forces. At first, it was about ATF agents following through on a warrant for illegal machine guns. A horrific shootout soon followed, with dead and wounded on both sides. For the ATF, it was an eye-opening surprise about what type of force and firepower lay within the Mount Carmel compound. For Koresh, 33, it was a prophecy. He had been calling himself Jesus Christ to his flock of approximately 100 people and had been hyping them about defending themselves during an apocalypse, one that was brought to their door.
This chaos is recreated for the viewer with multiple accounts, including that of a local reporter who was there when the shooting started, thinking he would get some footage of an arrest before going about his day. “It was like going to a theater and watching a war movie … but it was real life,” says another talking head. Russell uses never-before-seen footage and creates some immersive intrigue, but then lays that war movie on thick with editing and gunshot sound effects. Sometimes the score goes “BRAHM!” like a Hans Zimmer motif; at one point, it goes “DUN-DUN-DUN-DUNDUN!” like the jingle from “The Terminator.” The violence in this first episode is horrifically real life, but the filmmaking is gross on its own, like when it flashes one woman’s childhood self over her current face as she speaks about watching someone die in the compound.
Understandably, the series wants to chronologically focus on the experience of what happened around the Mount Carmel compound, but in purporting to be about both sides of the stand-off, it feels as if it has skipped an episode. Branch Davidians like Kathy Schroeder (a mother whose kids were released early) and David Thibodeau (who stayed until the fiery end) are interviewed but given little time to explain how they ended up there, why they so desperately wanted to stay, or how they were able to survive as long as they did in Mount Carmel. That feeling becomes more glaring when a producer plays for former Branch Davidian Heather Jones the last phone call with her father, who died in the compound. The scene would be more powerful if its sole purpose weren’t just to see her well-up and gobsmacked; her consent to listening to the recording doesn’t make the extraneous plot beat any less cheap. The horrific nature of Koresh’s ascent to power, including manipulating a cult that had already been in place since 1955 and which later helped him sexually abuse children, is treated with the same cursory nature.