S. Craig Zahler’s third distinctly written and violent film (Bone Tomahawk in 2015 and Brawl in Cell Block 99 in 2017)- maybe not one of the 10 best working auteurs- but certainly an auteur– and I admire the level of control he seems to possess in his films. Even if he’s working in a popular genre, what he’s producing is different—much better
Zahler must work quickly—this is 159 minutes- deliberate, patient—and Brawl in Cell Block 99 was 132 minutes just the year before)
with lighting like this- a little Fincher perhaps– I had no problem with the run time– even the elaborate set-up before the violent finale
The dialogue is unique, not zippy like Tarantino, Mamet or Shane Black—close to the rhythms and pauses of a recent Refn film. And the characters are dry, stoic, masculine—descendants of Dirty Harry, Randolph Scott or Lee Marvin
a modern western
Like Cell Block we have Udo Kier and Don Johnson in support
Unfortunately I couldn’t find the exact shot but there is a spectacular lighting set-up in Udo Kier’s office—really stunning
Unfortunately I couldn’t find the exact shot but there is a spectacular lighting set-up in Udo Kier’s office—really special
Overall this is Zahler’s strongest visual film— even if Bone Tomahawk is still his best– I mentioned the shot of Kier’s office but there is a yellow haze from the lighting during the big climax set piece at night—strong work—
Overall this is Zahler’s strongest visual film— even if Bone Tomahawk is still his best– I mentioned the shot of Kier’s office but there is a yellow haze from the lighting during the big climax set piece at night—strong work—
Hilarious conversations about these two as throwback old-school cops—discussions about how men started saying “We’re pregnant”- haha. And discussion about a pop song and them asking if it is a man or woman singing the song”
Fatalism
baffled by the mediocre reviews with authorship like this and gorgeous lighting
It is modern day urban western certainly – Zahler may be an update on Budd Boetticher—“my word is an obligation”—honor and nobility
so much of the film is shot in darkness- noir, almost a dystopia– beautiful but jarring juxtaposition here at the end
The screenplay is carefully crafted- no stray ends—there is a short story here about the tragic fate of a young mother that plays out poignantly as does Vince Vaughn (playing another very moral, yet violent character in a Zahler film)’s love story
Like the rest of Zahler’s films- this is an evil world, carving up a stomach
this is a great film. Not my favorite in recent years but still visually great and the story is great too. The idea that the captain is in his position while mel Gibson is being suspended, “that’s why I’m up here and you’re down there” and the fact that the three different characters played by Gibson vince vaughan and tory kittles are all searching for spiritual satisfaction. It is a deep and great film. https://www.google.com/amp/s/www.nationalreview.com/2019/03/dragged-across-concrete-conservative-action-movie/amp/
I’d recommend that review by armond white who placed it on his best of decade list. I dont agree with that but it is a great choice.
this is a great film. Not my favorite in recent years but still visually great and the story is great too. The idea that the captain is in his position while mel Gibson is being suspended, “that’s why I’m up here and you’re down there” and the fact that the three different characters played by Gibson vince vaughan and tory kittles are all searching for spiritual satisfaction. It is a deep and great film. https://www.google.com/amp/s/www.nationalreview.com/2019/03/dragged-across-concrete-conservative-action-movie/amp/
I’d recommend that review by armond white who placed it on his best of decade list. I dont agree with that but it is a great choice.
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