2hrs and 38m. Nothing wrong with it. I like movies with long runtime. The thing is: the first two hours are very, very slow and, let's name it, absolutely boring. The last part catches up, is very good, but can't compensate. I had high expectations and remain with disappointment. What do we learn from this? 1-Crime doesn't pay. 2-Crazy Mel is back!
Accomplishes what it wants to do pretty successfully. Bravely tackles some of the SJW politics of the day without coming off overtly Right Wing. Story makes sense and wraps up nicely. Some fine action scenes but nothing outstanding. Loved the masked guys storyline. Ultimately a slight bit disappointed based on how amazing cell block was but nothing too egregious here, but nothing real noteworthy either.
No tengo nada en contra de su ritmo lento, pero la encontré innecesariamente larga para mi gusto. En comparación con las 2 películas previas del director hay menos humor y acción. Sin embargo, hay trazos de ingenio por aquí y allá en algunos diálogos y situaciones (la conversación en el café sobre la canción de fondo o la secuencia de la llave de la camioneta, por ejemplo)
The threat of violence looms over every moment of this, and coupled with the stillness of the pacing, it creates a vice-grip of tension and suspense. Tough and dangerous, it's likewise a much more nuanced character study than some are giving it credit for. Jennifer Carpenter's introduction is cathartic. Mel and Vince Vaughn are understated and quite good.
S. Craig Zahler's latest is a sprawling, "Jackie Brown"-esque ensemble piece; although the script was completed in 2015, it's not difficult to read the film's two leads as bad lieutenants for the Trump era. The movie is at its best when focusing on Gibson and Vaughn's scrappy chemistry, particularly when Zahler lingers on the duo's stakeouts so long you can practically smell the fast food stinking up their car.
S. Craig Zahler is 3/3. Dude's writing is as intentionally patient as it is brilliant. You never call out one of these characters for being disingenuous in their motivations. When the action comes, you're gripped; and all the tedious, drawn-out realism in between makes its moments of action worth the wait. Loved it.
A bruising and patient piece of cinema with good performances and some well written dialogue. The story is kind of an old hat and we´ve seen this many times before and sometimes better handled. Zahler manages despite this to inject urgency and life into a story that shouldn't be able to fill almost 3 hrs. So a solid crime flick for sure, but it lacks that extra something to really bring it together.
It's almost 3 hours long, yet I never felt bored and didn’t once glance at the clock. Dragged is strangely hypnotic, with beautiful compositions reminiscent of Kurosawa, grabbing the attention, meriting dissection. There’s also long, mundane conversations, which blend into one another, as Zahler avoids one climax after the next. This could easily have been 90 minutes, but he's not interested in highlights. (cont'd)
4.5/5 - This film is an extremely rewarding watch for anyone with enough stomach and discernment for some morally twisted writing and setpieces, all directed with a perfectionist coldness and distance that purposefully makes us hostage, simply voyeurs of all the nihilistic chaos on screen.
Zahler still doesn’t block a scene properly. The coverage is also one of the worst I have seen in a film to date. His static and elongated camera shots, with minimal editing and motionless camera and actor movement, only makes it ugly and the energy of its already-lethargic plot as passive as can be. It’s obviously Zahler’s style by now, but it makes me wonder if he was asleep in film school like I am in his films.
It's pretty rough. Not because of the violence per se, but the tone. I can't explain it, you just have to see it to experience the levels of grime it sinks to. Exploitation films usually treat violence as a form of entertainment. Filmmakers like Haneke and Noe treat it as it really is -- upsetting. This film kind of walks the line between both. I'm not big into pulp stuff, but I way prefer this guy to Tarantino.
To watch this picture is to put yourself in the hands of a gifted director who knows exactly how to craft a story visually. The fraught tension in the film stretches out to almost unbearable lengths as Zahler and his talented crew keep tightening the screws on the plot. One of the best crime dramas of this or any other year. Zahler's work is in the same league as that of Michael Mann, Walter Hill and Sam Peckinpah.