Eleştirmen yorumları

The film is undeniably beautiful, a minimalist ode to the underside of Yorkshire life. The surfaces of image, sound and performance craft a poetic illusion that is impenetrable thematically and emotionally. The overall experience is frustrating and empty.

This is a staggeringly deluded film, one so seemingly certain of its own audacity and importance that it even apes the title font used in There Will Be Blood, implying a kinship with that film's sense of familial ruin via economic and religious dilapidation simply by virtue of remote thematic proximity.

The dialogue always feels natural and unforced, and even though the content sometimes drips with thick portent, it's never enough to dull the pleasure of just hearing these actors speaking these words. Plotting is more of an issue, and a remarkably tense opening few reels — which follows two separate timelines heading on a messy collision course — is dulled by some regulation plot twisting, double-crossing, narrow escaping, etc.

Wolfe's masterful editing and choice of music makes the ride highly enjoyable and it feels like it could last for ever. The film does end though, and Wolfe's choice of brutally throwing the spectator out of the car will certainly split the audience.

It's a slightly bumpy ride getting [to the finale], shifting gears between pursuit thriller, hard-times realism and lyrical film poem à la Lynne Ramsay. But it's an intriguingly intense debut.

It's never overplayed, or crudely exploited, but the increasingly palpable hostility between the white hit men and their Asian employers gives the film an explosive vitality that marks Wolfe and his co-writer brother, Matthew, as serious talents.