This is worst gunfight movie ever, which means this is best "anti" gunfight movie ever. Though very strange & awkward is the gunfight of people who's shot thousand times but can't be dead, more weirdly this is constructed by all the scenes which're usually cut in gun movie because, if not, this one becomes dull. All the more "Free Fire" works as the movie about "Gun is ugly & uncool, right?" Highly interesting gem.
Lots of people I respect have been laying a serious beatdown on these last two Wheatley features. I guess I like them because I'm an idiot. That's insincere. I think I'm brilliant. HIGH-RISE and FREE FIRE feel to me like slyly cerebral works of conceptual art or filmed gallery installations. FREE FIRE is fascinating for me because of its combination of chaos and a kind of zen stasis.
Considering the director, the minimalist plotting and the mindless violence this really should have been a lot more fun. Strange that its been 25 years since 'Reservoir Dogs' and we're still getting films like this. Enjoyable enough at times but nothing special. Best in show performance wise would be Jack Reynor and a suave as hell Armie Hammer.
The problem of having Whitley and Jump edit the film: pacing. High Rise suffered from the same problem. Also, the geography is confusing, which should never happen in a film that takes place in one location. One master would have sufficed. That said, it was fun, genre-y in the best way and totally original. Also, I'm still waiting for the internet to make a remix of Copley saying "get the case" over and over again.
A moderately fun film that should be a lot more fun - looks and feels like the corrupt, cancerous politicians and gangsters from American Hustle all engaged in a shootout with one another. Has vague hints of a satire on masculinity and gun control, but only after it throws a lean and novel concept out the door with some very subpar videography that can't coherently follow the action or who is shooting at who and why.
When I first started making little movies of my own, all I wanted to do was stage ridiculous, silly shootouts. The joyous, boyish, oh-well-fuck-it-then energy of "Free Fire" had me thinking fondly of my teens, equipped with a camcorder, After Effects, air-compressed squibs and plenty of air-soft guns. The characters are huge, the dialogue is snappy, and at a taut, fat-free 91 minutes, it makes the most of its set-up.
A sort-of original mash-up of wholly unoriginal elements. Points for the all-star cast, the offbeat tone, and the John Denver. Points removed for somehow creating a confusing geography in a single room, and the predictability of everything. Plays out like Quentin Tarantino directed the sniper standoff in Enemy At The Gates. Ben Wheatley is always interesting, but could've done better.