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Ulasan Kritikus
Bullet to the Head
Walter Hill Amerika Serikat, 2013
Bullet to the Head never rises even to the second tier of Hill’s filmography, but such grim acknowledgments of the material’s horrific absurdity ground the affectionate throwback to unpretentious, lean action filmmaking without deconstructing it. If nothing else, it takes some skill to make one pine for the days of early-’90s Blockbuster shelf padders.
July 20, 2013
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This is a gleefully knuckleheaded buddy action picture by the Rembrandt of the genre, a film that—like the endless cacophony of lurid harmonica solos squiggled on its margins—glides with the assurance that, goddammit, it’s gonna play by its own rules.
February 06, 2013
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As narrative, Bullet to the Head is amateurish. Villains awkwardly explain their plans for the benefit of the audience. Characterization is non-existent. Scenes are bridged by lame iMovie-style filter effects. Poorly Photoshopped stills are used to illustrate “backstory.” The movie clunks along with no sense of dramatic tension or scope. And yet in terms of how it handles light, movement, texture, and space, it’s clearly the work of a master.
February 05, 2013
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Bullet to the Head is a brisk, enjoyable picture that wastes little time getting down to business… While not likely to win points for originality, the movie has a lot of nicely contained and then expended energy. New Orleans is a pretty popular place to shoot movies in recent years, but Hill actually goes to the trouble of putting some of its atmosphere on the screen.
February 01, 2013
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[In The Expendables, Stallone’s] swagger seemed hyperkinetic, and his glee in violence and its effects seemed oblivious. Here, under Hill’s tight and perceptive direction, Stallone’s actorly intelligence and charisma come to the fore—the less he does, the wiser and deeper it appears…
February 01, 2013
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While the veteran action director Walter Hill hasn’t done much to enliven this dull, unmemorable material, with its mechanically moving parts and popping gunfire, its dull-red splatter and spray, he has brought a spark of wit to the proceedings, starting with the figure of Sylvester Stallone.
January 31, 2013
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It’s pure comic-book malarkey, adapted from a graphic novel by French artist Matz. But the skeletal plot affords Hill the opportunity to go atmospherically hog wild.
January 31, 2013
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Bullet to the Head accepts that binaries like good and evil, classicism and slapstick are useless when trying to comprehend the suddenness of death; they’re mere distractions from the real reasons (sometimes contradictory) that people define themselves by the weaponry they master.
January 29, 2013
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