Setting aside the performances, since those have already been universally praised (and rightfully so, the acting is phenomenal), I like that King’s direction is relatively restrained and unobtrusive. It amplifies the thrill when he does do something a little more striking with the camera, like a tracking shot that follows Hampton up some stairs as he heads to a speech, or the fluid movement when the Panther’s headquarters is being shot up and O’Neal hurries out of the building. No showboating here, just lean and sturdy filmmaking, carefully accented.