I’ve been hoping, wishing, praying for Guy Ritchie to return back to his screwball Cockney crime pictures of his splashy beginning, but the further and further I get from 2001’s Snatch, the more I think it’s a luxuriously madcap exception. The Gentlemen is a closer return to form than 2008’s RocknRolla, but it’s still a long way off from early Ritchie. The recognizable elements are there, from the convoluted story with twists and turns, the non-linear storytelling lapping and overlapping itself, the comical brushes with sudden violence, the colorful array of criminal characters, and a sense of style that seems all over the place. We follow Matthew McConaughey as a marijuana titan looking to get out of the business, though there are threats old, new, and “just business” that are trying to take his empire from him before his exit. The biggest problem with The Gentlemen is how clever it feels like it needs to be and how few characters there are to find interesting. Snatch, by contrast, forever contrast, was practically a Dick Tracy rogues gallery of all its memorable and unpredictable characters. These feel pretty rote, even our heroes, and the minority characters get even shorter shrift. The plot is also more complicated than it needs to be with an extended meta-textual layer of a lecherous Hugh Grant tabloid journalist pitching the story like it was a movie (irony: it is a movie!). It took maybe 45 minutes before I felt like the story was finally picking up momentum and stakes, and by the end, it felt like Ritchie was just extending his story with another twist and wrap-up, and then another twist and wrap-up, like the outer edges of the movie cannot be contained and somehow it’s still even going. It’s like Ritchie doesn’t know when to walk away from his own party. Because of these things the pacing is wonky and there are more than a few tedious stretches. Colin Farrell has some amusing moments but should have been the main character as a boxing trainer who takes a shine to try and reform local hoodlums. McConaughey’s character is too boring and always wins too easily, which makes him more boring. The Gentlemen is a C-level rendition of Ritchie’s best material, and Snatch only shines even brighter with each new miss.
Nate’s Grade: C+
I can’t help but feel that France made a mistake when they selected their official entry for the 2019 Oscars. Les Miserables is a perfectly fine, if not good, cop thriller with a social urgency bubbling under the surface to provide added depth, but it’s no Portrait of a Lady on Fire, which was sumptuous and one of the best films of the year. Regardless, this movie follows a new officer on his first day transferred to his new unit in the ghettos of Paris where his experienced partners have harassed the mostly Muslim immigrants to the point of simmering community resentment. Then, in the middle of a pitched crowd of kids fighting the officers, an accident happens, the incident is recorded via a drone camera, and different factions are racing to get a hold of that footage and its inherent leverage. Les Miserables has a docu-drama cinema verite visual approach and plenty of authenticity in its details of beat cops, a minority community under surveillance and mistrust, and the corrupting influence of power. It’s an efficiently made thriller with some potent drama. However, it takes way too long to get going. That drone incident doesn’t happen until an hour into the running time, beyond the halfway point. Until then it’s setting up the various characters and grievances and starting to test our new transfer with how comfortable he will be accepting the borderline behavior of his fellow officers. I really felt like once the drone incident hit the rest of the movie would be off like a shot, a race to the finish, and it’s just not. It concludes too quickly and then introduces a revenge assault that made me yell loudly, and profanely, at my TV when it faded to black without any legitimate ending. I think writer/director Ladj Ly is going for the ambiguity of whether or not these characters are in their “corrupt” and “lost” boxes that society has forced them into, whether they will have their humanity stripped away to become another statistic in an ongoing struggle, but I don’t think a non-ending helps his cause. It makes the movie, already feeling misshapen in structure, feel incomplete. Ending on a quote by Victor Hugo is not the same. Les Miserables is a finely made thriller but at least Hugo’s version had an actual ending.
Nate’s Grade: B-
Film is a powerful medium but it’s also one where it seems an infinite number of people are ready and willing to debase themselves just to be part of a production, just like there seems to be an infinite amount of people ready and willing to use their perch as filmmaker to exploit, particularly, young women that normally wouldn’t give them the time of day. I don’t dislike exploitation cinema on its face. I enjoy crazy movies, bad movies, and movies replete with sex, drugs, and violence as much as the next guy. The problem is when the exploitation is for its own shallow sake. Such is the case with the repellent She’s Just a Shadow from writer/director/producer Adam Sherman, whose scuzzy aim seems to be a lower-rent Harmony Korine, who is a lower-rent Larry Clark, all face down in the trough of skeevy exploitation cinema runoff. This may be the kind of movie only a disaffected 12-year-old kid would love but you wouldn’t want to get to know that child.
Set amid the glamour and grime of Tokyo, we follow Irene (Tao Okamoto, The Wolverine), who informs us in her opening narration, “It was kind of confusing how I took over the black market and sex trade of the whole city.” So, off to a good start. She’s married to Red Hot (Kentez Asaka) who is looking to gain new turf for his drug empire and stomp the competition, which happens to be a grade school friend of Irene’s that causes him intense jealousy. Gaven (J-pop star Kihiro) is tired of his rich gangster playboy life and torn between his feelings for two prostitutes, Tanya (Karuka Abe, Kiss Me First) and Beth (Mercedes Maxwell, Marfa Girl). He wants to run away with Tanya but just can’t leave his cushy lifestyle. Really, the plot of this movie is: whatever character does copious amount of some drug while naked women cavort in foreground or background. Plus there’s a serial killer. That’s it.
The opening sequence sets the tone for this repulsive TWO-HOUR experience. A woman is hogtied, naked, and laid onto train tracks. Her abductor records her panicked muffled cries as one of Japan’s bullet trains approaches. Yes, it’s a twenty-first century film where a villain straps women to railroad tracks. However, that’s not edgy enough, so the abductor proceeds to masturbate to the woman’s terror and climaxes on her, which we see, before she gets smacked by a train. It’s a gross, sleazy, and gratuitous opening, and it sets the tone for a movie that never challenges itself to be anything more than the world’s most boring exploitation film.
You can clearly see Sherman’s interests in exploitation film staples and Japanese culture, but getting to play with your kinks and getting dozens of women naked does not a movie make. It feels like I’m watching some strange and off-putting project that’s a combination of a rambling, incoherent student film and personal pornography. I’m a red-blooded heterosexual male who enjoys nudity but She’s Just a Shadow is excessive to the point of boredom. The movie is almost two hours and I can literally count on my two hands the number of minutes that did not include some naked woman. Scene to scene, naked women will just bounce around, or sometimes they just lay around while other characters talk, serving as literal scene decorations. There’s a big glitter orgy and visuals of writhing, tawny nude bodies. There’s a full-frontal photo shoot that just goes on and on. There are multiple trips to a strip club. The gang of prostitutes are dressed in chunky Alice in Wonderland-style Gothic dresses and wigs and jewels glued to their faces. I looked it up and several of the minor Japanese actresses are real porn stars (no judgement). The objectification of the women is just so overpowering. It’s not that you can’t tell a compelling story with sex workers as the primary stars/perspectives. Sherman has not provided them the material because they aren’t characters; they’re barely people (more on that below) in this realm. They’re disposable fetish figurines meant for posing. This is like some horny teenage boy’s fantasy of having enough power to get a bunch of women to frolic to his specific demands. I counted the number of actresses listed under “prostitute” in the end credits and it’s 32!
Exploitation movies trade in base behavior, memorably outrageous characters, and fans celebrate them for it, but they still need to provide an entry point for an audience. She’s Just a Shadow is trying so hard to be edgy in every scene that it reeks of tragic desperation. It’s unrepentantly misogynistic and trashy and ugly and cruel for its own stupid sake. There are no characters of interest, no recognizable people to follow and empathize with, and Sherman’s idea of a Strong Woman amounts to an abused woman forced to do awful things to fit in or rise above awful people. Crime movies and exploitation cinema is rife with immoral characters but the filmmakers know well enough to make them worth watching. With She’s Just a Shadow, one of the biggest character’s entire arc is that he keeps saying, “Man, I can’t party anymore.” He has a life of empty luxury and he says he can’t handle it any longer, and yet he stays. The lead characters are supposed to be ferocious criminal leaders but they act like self-involved morons or cartoons. They have (nick?) names like Red Hot, Knockout, and the competing gangster, Blue Sky. There is one moment that is so incomprehensible in its insane nihilism that I was gob smacked. In the span of ten seconds, a character roundhouse kicks a kid in a wheelchair across his face, then punts his dog over a fence, and then gets plowed into by a speeding truck. If you needed confirmation, here it is that Sherman has contempt for his unfortunate characters.
The heavy-handed nihilism is so tiresome and is its only trick. Sherman is forced to resort to repetitive shock theatrics to jolt life into his movie because it’s such a floundering story. There’s one scene where Tanya is eating an ice cream cone, digresses about how her drunk father was so poor he could not even afford an ice cream cone, then discusses how she was possibly molested and raped by that same father, and now he’s dead, mom too, and then she smears the vanilla ice creams over her face and asks, “Will you lick the ice cream off my face?” Then there are close-ups of Gavin’s tongue lapping every morsel. What the hell is this scene even doing?
The lingering serial killer is the biggest symptom of this diseased thinking. The “Train Track Killer” is seen murdering a half a dozen naked women in his signature over-the-top style, and why do we need to see this half a dozen times? Are we gaining any further insights about this man? The police can’t seem to determine the identity of the culprit, but in this universe not a single train employee or passenger records evidence of a weird man standing beside a dead body. The serial killer poses as a cop but most of his screen time is spent spying on Irene’s prostitutes, and hacking into their electronic devices, and masturbating furiously. I suppose there’s a mystery of whom he is, not that his identity matters, but it does matter to Irene and her girls who are at risk. Halfway through the movie, Irene knows who this guy is and… she… does… nothing. Why? Eventually, at the very end of the movie, she does take a stand, but why didn’t she take the initiative an hour earlier? There are more women dead because she chose not to act. The “Train Track Killer” adds nothing of genuine value to this story. He’s a slipshod antagonist kept along the periphery, called upon to do something horrible at random times, yet his actions have no impact on the characters he targets. Under Sherman’s guise, the women are all disposable. This is a stupid character that has nothing to do except provide work for the newscasters (who report with the same microphone and obliviously within feet of speeding trains). Let this terrible man’s spiteful ejaculation in the opening scene serve as a metaphor for the entire enterprise.
She’s Just a Shadow has so many bizarre, ineffective, and pathetic examples of headache-inducing dialogue that I had to assemble my favorites. I asked my friends on social media what the best-worst example of dialogue is, and by a close margin they went with the first selection. The candidates for Worst Line of Movie Dialogue of 2019 are the following:
1) “Women! No matter how human they seem, they are just shadows. But on the other hand, aren’t we all?”
2) “This sandwich is cold and raw AND SO ARE YOU!” *hangs up phone*
3) “There’s two kinds of love: strawberry love and Twinkie love. A Twinkie can sit there for decades and still be sweet. A strawberry is juicy and sweet but if you leave it out it will rot in just a couple of days.”
“Only a prostitute would say that.”
4) “Everything goes away in the end. Love goes away in the middle.”
“Love is a thing with feathers.”
5) “You’re a man whore. A prosti-dude.”
The production has some merit when it comes to its Grand Guignol primary-color drenched photography, but anything of technical value is quickly extinguished by Sherman’s unrestrained penchant for gratuity. Even if you enjoy some of the visual arrangements, there will be scenes where it feels like they were running out of time and just threw a camera onto a tripod and got the first take. Even if you like some of the style, Sherman will indulge to the point of self-parody. There’s one moment where Irene’s girl gang and a rival gang standoff and Sherman has 14 seconds of shots of characters just drawing their guns (I actually counted) and no seconds of watching the actual shootout (the camera frustratingly pans away to hear the off-screen gunfire). Let that be an example of Sherman’s predilections and priorities, featuring women posturing in his fetish gear but, when it comes time for there to be stakes and story significance, the movie cowardly retreats. I haven’t even talked about the numerous other awkward moments. Red Hot rapes Irene twice, once after spanking her/beating her with a laptop, and a second time after stabbing her in the thigh. Gaven badgers a dying and profusely bleeding prostitute (it’s like the floor is painted in gory gallons) about whether or not she can see God in her final moments, and she requests a kiss that is followed through with a string of bloody saliva between their lips. The earlier shot didn’t even have this string of saliva, but then Sherman shows another take immediately after, because he definitely wants this string of saliva seen and processed. It means something. Or nothing.
To say She’s Just a Shadow is in bad taste or a waste of anyone’s time is an obvious understatement. This is a bottom-scraping bad time of a movie, soaked in various bodily fluids, gruesome for the sake of being cool, smothered by its wanton excess, and supported by one-dimensional ideas of characters that are really just opposable bodies miming the exploitation influences for Sherman. He feels disdain for all of these characters but especially the women who are fetishized, objectified, abused and harassed, and made to sadistically suffer. I felt bad for every person, especially the women, involved in what feels like Sherman’s student film project where he gets to tickle every personal fetish he’s ever had. Even watching the stream of flesh and violence grows utterly tiresome without variance or reasons. At one point, a call girl stumbles into a double suicide, blood splattered against the walls, and seems to be talking directly to the audience when she huffs, “This is the stupidest fucking thing I’ve ever seen.” You said it, sister.
Nate’s Grade: D
It’s been a couple weeks since I watched Queen & Slim and I can’t get it out of my mind. It’s billed as a modern-day Bonnie and Clyde, and while that description is technically apt, it’s more a frighteningly relevant thriller about police brutality, the skewed criminal justice system, and the hairpin-turning horror of daily life as a black person in America. A first date between Queen (Jodie Turner-Smith) and Slim (Daniel Kaluuya) goes awry when they’re pulled over by a racist trigger-happy cop and, in the ensuring struggle, Slim shoots and kills the officer in self-defense. They go on the run trying to escape one setup after another, all the while during this hellish ordeal the characters are growing closer out of reliance and a budding sense of romance. This is a powerfully intense movie with several supremely suspenseful sequences where I worried deeply whether or not the titular pair would be found out, could escape out of a jam, and all the while the authorities are getting closer and closer. They become folk heroes for a community familiar with the oppressive day-to-day of always being seen as a suspect, as “up to no good,” as presumed guilty and dangerous. There are a couple questionable moments later in the film involving the pair as inspiration where I wish the film had perhaps been a little less ambiguous over what I’m supposed to draw. The screenplay by Lena Waithe (The Chi, Boomerang) is cannily crafted with a strong sense of how to develop its premise, deepen it with larger themes, and throw organic obstacles at the characters. I was impressed with how quickly the movie would crank up the tension of a moment, but these thriller aspects never felt cheap or superfluous. The characters do not get lost to the overall plotting machinations and the performances from Turner-Smith and Kaluuya are terrific. Director Melina Matsoukas (Insecure, the soon-to-be release Y comic adaptation) has such an affecting manner with her camera and, in particular, the moody lighting that can express a range of feelings from anxiety or sensuality. The ending of this tale might be expected but that doesn’t take away any of its inordinate power, an ending that has stayed with me and shaken me for days. Queen & Slim is a character-driven chase film that manages to also touch upon powerful social themes, taking a mythic story and making it personal, relevant, and, in a new manner, timeless.
Nate’s Grade: A-
In 2018, Netflix crashed through Oscar biases with Alfonso Cuaron’s personal epic Roma and this year they have their sights set on even bigger prizes. The streaming service has built an empire of original content (and debt) and put up the $150 million budget for Martin Scorsese’s decades-spanning crime drama, The Irishman. It’s a fitting reunion for Joe Pesci, Robert De Niro, and Scorsese, and then to add Al Pacino on top, well it all makes for one supremely entertaining and occasionally striking movie experience. However, I think some critics are getting a bit too carried away with their plaudits. While entertaining throughout its mammoth 3.5 hours, this is much more Casino than Goodfellas.
We follow the life of Frank Sheeran (De Niro), a Philadelphia-based truck driver who rose to be a Teamster union rep and, reportedly, a prolific hired gun for the local mob, headed by Russell Bufalino (Pesci). Sheeran is tasked with helping Jimmy Hoffa (Pacino) with his business, which helps the larger contingent of organized crime that used the Teamsters multi-million-dollar pension as their own slush fund to pay for projects and schemes. After he loses his leadership position, Hoffa begins to think of himself on the same level as the tough guys and just as protected. Sheeran tries to turn his friend back from the self-destructive path he seems destined for, and ultimately, it’s Frank Sheeran who says he pulled the trigger killing Hoffa (is this a spoiler?).
There are moments that just sing in this movie, buoyed by a wonderful film alchemy of the actors, the storytelling, the skill of Scorsese and his longtime collaborators like editor Thelma Schoonmaker, and it can feel exhilarating. There’s a rich world of day-to-day detail from the character interactions and mob politics, and once Hoffa comes onscreen the movie becomes something more and better. It’s just as much Jimmy Hoffa’s movie as it is Frank Sheeran’s. Here is a live-wire character bursting with unpredictability, later to his great deficit, and who pushes the other characters around in a way that creates instant tension and realignment. Considering the selling point of the movie is its perspective from the claimed killer of Hoffa, it only makes sense that these moments are allowed the most attention. Hoffa sees himself as a champion of the little guy, as an ideologue trying to make life better, never mind his own extravagance, ego, and inability to let go of grievances. Hoffa was the head of the Teamsters union for twenty years and was a well-known public figure, somebody people like Peggy Sheeran (Anna Paquin) could idolize unlike her father and his other cohorts she despised. He’s a larger-than-life figure and those theatrics find a perfect match with Pacino and his bombastic nature. It’s no wonder he steals the movie. Pacino is terrific and has the clearest arc of any character onscreen, a meaty role that gives Pacino new life. I predict he’s the front-runner for supporting Oscar gold. I was transfixed by the amount of details that Scorsese and screenwriter Steve Zallian (The Girl with the Dragon Tattoo) imbue in every scene, propelled by Frank’s narration and a dark sense of humor. It’s very easy to get immersed in this criminal underworld and its many machinations, which provides a steady stream of information points to tantalize. If one scene isn’t working, just give the movie a few minutes and another avenue might open to prove newly fascinating. It makes a difference on its running time, making 3.5 hours feel more mercifully like 2.5 hours. Of course, once it’s released onto Netflix, I feel like its size and scope will become less unwieldy for viewers.
Because of that surfeit of detail, I think The Irishman would have better benefited from being adapted into a miniseries than as a single movie that happens to be 15 minutes longer than Titanic. The finished film feels rather episodic, like three movies attached into one; the introduction into a life of crime and rising in the mob, the friendship and fall of Hoffa, and the finale as an old man. All of these segments have genuine interest and compelling drama but I think they would have been even more compelling with a larger narrative canvas to play out upon. That way each episode could have its own beginning/middle/end and play its part adding to the larger whole, which is essentially what scenes should be doing anyway for a story. The problem is that The Irishman gets a little lost in its own minutia in the middle and the plot stalls. It feels a little too taken with itself. It feels like we’re experiencing the same information just in more settings. How many moments do we need to show Hoffa pushing away sound advice, making enemies of allies, and dooming himself? Admittedly, the Hoffa portion of the movie is the most compelling, and longest, segment of the movie. It’s the best because of Pacino’s spotlight and from the personal involvement in Sheeran, pushing his loyalties to the test when he genuinely grows close to Hoffa and realizes he’ll be the one that has to eliminate his friend. It’s the most dramatic and harrowing and most interesting part of the movie (and no, not the somber final 30 minutes). I think it would have had even more punch over the course of multiple episodes of material and momentum. By going the miniseries route, the film could have also stripped its second and entirely unnecessary framing device, having the men drive their wives across the Midwest to attend Bill Bufalino’s (Ray Romano) wedding. The short scenes fail to lead to any import until it’s revealed late what also happened during this fateful weekend. It’s a long wait to justify its placement, and even after that it doesn’t feel like the occasional road trip updates were worthwhile.
Much has been made from several dazzled film critics and online pundits about the movie’s concluding half hour, which follows the “after” of a mafioso’s life. We got a taste of this in the conclusion of Goodfellas after Henry Hill and family were relocated to schlubby mundanity through witness protection, implying the boring life that awaited, but The Irishman dedicates its conclusion to demystifying these mob men. Few of them live to old age, so already Sheeran is the exception (he died at age 83 in 2003) but he’s also incapable of introspection. That gives the final half hour a change of pace and an air of contemplation but it’s stagnated. Frank’s family wants nothing to do with him, everyone from his earlier life has passed away, and he shows little regret for his life’s actions, shocking a priest, his only regular visitor. I suppose one could surmise the self-deluded and sad existence of this man who refuses to accept accountability, but I found this final thirty minutes to be interesting, yes, but far from revelatory. I think critics are doing a fair amount of projection by searching for some kind of tidy, accumulative meaning, as if Scorsese is providing some wise, decades-earned statement on his own famed works highlighting the flashy lives of very bad people doing very bad things. People are a little too desperate for The Irishman to provide that neat hook, that definitive statement, and it’s just not there. It may have been too “movie land convenient” but I was begging for a final confrontation from Peggy.
The de-aging CGI is the source of much of the film’s gargantuan budget, which was why studios balked before Netflix welcomed Scorsese with eager arms. The first display of the de-aging effect is jarring and jarringly bad. We see Pesci and De Niro as 40-year-old men and it’s initially horrifying. The effect looks wrong, like somebody drew over their faces to provide some degree of cell-shaded dimension (think of the video game Borderlands). There are also elements that will just never look right, namely the elasticity of the skin, which looks overly smooth and polished, reminding me of the doll faces of the stop-motion film, Anomalisa. It gets better from there. Interiors and lower-light environments are better at masking the unreality. After a while you simply grow accustomed to it and the characters are aging anyway, which means the effect is rarely used after the first half of The Irishman. It’s impressive at parts but even with the digital facelift, these are still 70-year-old men moving their 70-year-old bodies with new shiny faces. There’s a moment when a younger Sheeran beats and stomps on a grocer and it reminded me of professional wrestling with the stiff movements of one participant followed by the extravagant physical overreaction of the recipient. Captain Marvel is still the champ at actor de-aging.
There’s also the fairly strong possibility that Sheeran made all of this up. Well into his twilight years, he reportedly recounted his amazing tale to a medical malpractice lawyer before he died, and that became the 2003 book, I Heard You Paint Houses. An August 2019 article by Slate.com writer Bill Tonelli (“The Lies of the Irishman”) gives a pretty thorough rundown of the facts of the case, which align in one direction. All of the FBI agents during Sheeran’s time, as well as the local officials, and surviving criminal actors, all come to the same conclusion that Sheeran has grossly overstated his role in mob matters and outright fabricated his most sensational claims. According to Tonelli: “Most amazingly, Sheeran did all that without ever being arrested, charged, or even suspected of those crimes by any law enforcement agency, even though officials were presumably watching him for most of his adult life. To call him the Forrest Gump of organized crime scarcely does him justice. In all the history of the mafia in America or anywhere else, really, nobody even comes close.” It does seem far-fetched, but the next question is whether the enjoyment of the movie matters at all if the story it’s based upon is ninety-nine percent hooey? While I think the impact of the movie is slightly blunted with a fictional account, it plays larger into a self-aggrandizing theme and the first framing device of the movie, having Sheeran narrate his life experiences as an old man, left to rot in a nursing home. Perhaps he’s exaggerating to make himself feel more important and grant himself something of a legacy that is denied to him by a lifetime of self-serving choices that have left him abandoned by family. In this regard, there’s a strange meta-textual level that even helps support the larger tragedy and loneliness of these men, in case you needed it underlined.
There’s a delightful feeling of getting the gang back together for Scorsese’s massive, ambitious, and thrilling return to the world of gangster cinema. There are so many characters that it can be hard to keep things straight as we zip through decades, de-aging, framing devices, Boardwalk Empire supporting actors, prison time, nursing homes, and Jim Norton as a young Don Rickles. I wish the story had been parlayed into an epic miniseries rather than a movie. The finished film is certainly long and imposing but also compelling and entertaining. The personalities don’t have quite the pop as Pacino, a rollicking screen presence relishing the spotlight, but the rock star bravado has been replaced with a somber reality of self-cultivated isolation. Pesci is terrific in what might be his most nuanced, insular, and quiet role of his career. I wish he would continue acting. De Niro is suitably gruff and has a few scenes of trying to hold back a cascade of emotions, but he’s more our impassive face into a world of crime and vengeance. I don’t think the final conclusion has the power that others have claimed and is a result of projection. The Irishman is an entertaining deep dive that I only wish could have gone even deeper.
Nate’s Grade: B+
Think of it as a feminist companion piece to The Wolf of Wall Street or The Big Short. Inspired by a true story, Hustlers follows a diverse group of strippers who wine and dine Wall Street middlemen and execs, feeding off the spoils of their feeding frenzy, and then eventually upping their game, drugging them and fleecing them for one wild night that they’ll be too embarrassed to report that next morning. The story grabs you early on and is stuffed full of interesting details about the ins and outs of the stripping industry as well as how to service and manipulate the wealthier men who frequent said clubs. Hustlers becomes a combination of a crime caper, a con artist thriller, and a class-conscious drama about the haves and have nots, but it really becomes a showcase for the talents of one Jennifer Lopez, a woman who does not seem at all close to her fifty years on this planet (her introduction is quite the jaw-dropper). Lopez plays Ramona, the alpha leader of the group, a loving single mom with a healthy distaste for the hand she’s been dealt. She is sensational and delivers the best performance of her long career. Even when she’s doing bad things, even when she’s taking bold risks, there is a moral center to that woman, an unbreakable heart for the people she chooses to let into her life, and it does not budge, which was a poignant note. In many ways she is more the main character than Constance Wu (Crazy Rich Asians), a figure that serves as more entry point than fully-fleshed out character. I enjoyed learning the various tricks of the trade writer/director Lorene Scarfaria (Seeking a Friend for the End of the World) peppers throughout with her love of montage and stylish transitions, but it really picked up after the 2008 financial crash where the women cross over into direct criminality. At first they figure they’re just skipping ahead, drugging with MDMA rather than waiting for their marks to get drunk (“Drunk enough to order the bill but sober enough to sign the check,” Ramona cautions). Then things get escalated and sloppy and the women are in trouble. It’s a fun ride watching the ladies get theirs, and I was challenged to muster much of any sympathy for their Wall Street marks. Part of me wishes more women would be inspired by this movie and follow suit, fleecing the people who fleeced our economy. The movie rides that wave of the good times you know can’t last, prolonging the fall we’re all anticipating coming. The supporting characters can be a bit weak; several of the other girls involved in the scheme merit one note of description, and some of the humor feels a bit out of place, like a running joke where one of the women nervously vomits often (this is like her single character trait, and it’s weird). It’s also likely the stripper-centric movie with the least nudity I’ve ever seen, thanks to Scarfaria treating a sensational story with candor rather than exploitation. Hustlers is a glitzy drama that will entertain you with its flash and then surprise you with its edge. And all hail, Jennifer Lopez, ageless wonder and underrated actress getting her due.
Nate’s Grade: B
Mob movies are culturally beloved. I could watch Goodfellas every time I see it on TV. We know these movies, we know this lifestyle, in so much as it’s been demonstrated in our art. A feminine perspective is often the dame, the moll, the panicked wife who worries her husband will never come home and see his bratty kids again. Rarely in mob movies are there roles for women that can be considered three-dimensional. Even Diane Keaton gets shortchanged in The Godfather series. In comes Oscar-nominated Straight Outta Compton screenwriter Andrea Berlof, tackling her directorial debut and adapting a graphic novel about three mob wives fighting the system. It’s about time this under-represented perspective in some of our favorite movies got its due spotlight. It’s too bad then that The Kitchen finds ways to still leave the women behind where it counts.
Set in the Hell’s Kitchen neighborhood of New York City in the late 70s, three mobsters get arrested one evening by the FBI and sent to prison. Their wives are now left alone to raise their families, struggle for employment, and to not be forgotten with the new pecking order of those mobsters left behind. Ruby (Tiffany Haddish) and Kathy (Melissa McCarthy) think they should take over their husband’s rackets while their men are indisposed. Claire (Elisabeth Moss) is more worried about what will happen when her abusive husband comes back from prison. The three women work together to make a stake at their own claim, butting heads against the existing power structure of dismissive men who don’t think organized crime is any place for a woman.
The Kitchen has such potential but it’s too often running off the fumes of other mob movies. Beyond the obvious similarities with last year’s more refined and polished Widows, this is a movie that gobbles its mafia movie clichés like a heaping helping of pasta (more clichés!). The characters aren’t terribly well defined and the story oddly moves in starts and stops, with moments either feeling too long or too short, and especially abruptly transposed, using montage to hurdle through what should have been needed onscreen development. People rightfully complained about the final season of Game of Thrones skipping over needed steps along a character’s journey to get to its intended destination, and The Kitchen is deserving of the same charge. We want to see these women in charge and others afraid, except the movie doesn’t show me any reason why these women would rise in power and what sets them apart from their steely competition. I get that they’re underestimated and they are determined, and that works in a general sense, but by the half-hour mark they’re already successful mobster entrepreneurs and I’m unsure how. Even after their rise, there is little that seems to deter them. Every new obstacle is comically taken care of in such casual fashion that you never worry for their well-being. It feels like Berloff wants to skip through all the hard work and just get to the enjoyable desserts or a life of crime, but moving up the ladder is an essential part of any power struggle story. As a result of the sloppy plotting and pacing, there is an over-reliance on clichés to stand in place, relying upon the audience’s warm understanding of the genre territory and what to expect to relieve the movie from having to do more work. It’s all telling and hardly any show.
The characters are kept as archetypes as well, at least 2/3 of the leads. Both McCarthy and Haddish seem miscast for their roles. Both are splendid comic actresses and have dramatic capabilities beyond what they get credit for, but they seem to rely upon comic instincts to get through their underwritten scenes, which further hampers the lack of tension. Each actress gets one solid scene to open up their character but it’s just so little. Ruby has a sit down where her mom credits beating the “soft” out of her daughter for Ruby’s success. That little glimpse into her past and her fraught relationship with her mother served as a tantalizing hint at what could be explored further with the Ruby character. The same with the fact that she’s a black woman who married into a very rigid Irish-American family set in their prejudices. There’s such dramatic potential to be had there. Alas, she’s tasked with being a hardass and that’s all The Kitchen asks of Haddish, treating her more as symbol than person. For McCarthy, there’s a late scene where another character tries to soft-peddle her involvement in crime, saying she did what she had to for her children, and Kathy corrects, saying, no, she did it all for her. She was tired of being a deferential doormat and wanted to feel important. That degree of self-empowerment through selfishness could be a fascinating character angle to explore, but we don’t get that. She clarifies the lens for us to view her with but by that point it’s far too late. The film is top-heavy with underwritten women and that’s a shame.
The most interesting character by far is Moss’ abused wife-turned-budding killer. Claire is the one starting at the lowest point and the one who takes to the life of crime as means of salvation. These characters are doing some pretty heinous acts but with Claire I felt the most empathy for her plight, bullied by her husband and feeling trapped, more worried about the impending release and her return to being the scared woman cowering in the corner again. She doesn’t want to go back to that life and I believed every moment of Moss blurting out her despair and desperation. That’s why her relationship with another oddball killer played by Domhnall Gleeson (The Last Jedi) was what I cared about most in the movie. You watch them grow together, him mentoring her on how to cut up a body and dispose of it down river, and you watch how each of these two people finds something missing in the other. They may not even be good for one another, enabling their darker impulses and past a point of no return, but it’s the only evolving relationship we were given an entry point to empathize with fully. This segment is also criminally underwritten but it’s clearly where the focal point of the movie should have been. This was the perspective the movie should have been locked into and the character’s journey we follow through every step.
The Kitchen isn’t a bad movie at all. The production design and period appropriate costumes are to die for. There’s always going to be a visceral enjoyment watching the underdogs move ahead and topple their doubters and competition. The ensemble doesn’t have a bad actor in the bunch. Bill Camp (Molly’s Game) shows up with a real sense of veiled menace as a Brooklyn mobster both irritated and impressed by the ladies’ advancement. The soundtrack is packed with Scorsese-riff-approved tunes, including three instances of Fleetwood Mac. There are pleasures to be had. It’s just that the ingredients to a better movie were all there, plain as day. If you’re a fan of mob movies in general, you may find enough to satisfy with The Kitchen, which has its moments but ultimately feels too much like an under-cooked dish you’ve had one too many times before (metaphors!).
Nate’s Grade: C+
When we last left human killing machine John Wick (Keanu Reeves) he was on the run. He had just committed the cardinal sin in this world of professional hired guns — killing a protected man on safe ground. As a result, The High Table, which governs this ordered realm of trained assassins, has excommunicated Mr. Wick and placed a $15 million dollar bounty on his head. John is desperate for an exit and leans on old pals (Angelica Huston, Halle Berry) before coming home once again to face off against all the gun-toting wrath The High Table can offer.
Plenty of Hollywood action movies can elicit cheers and thrills, and John Wick 3 is definitely in that mix, but what sets it apart is the sheer number of “Oooo”s, “Oww”s, and, “Holy shit”s. Most other action movies have one or two moments that make you wince or make you shake your head in astonishment of something intense, gnarly, or self-evidently awesome. John Wick 3 is packed with these moments. There are numerous examples just in the opening action sequence. There’s one long extended fight where John uses whatever is at his disposal, including knives and shards of broken glass and mirror, to take down his mounting enemies, and then he pulls these deadly projectiles out of their bodies to use again in a pinch. By the end of this action sequence, my preview audience burst into applause. I can’t think of another movie where this happened especially in Act One. The movie has lots of standout action sequences and the good sense to let the audience enjoy the disciplined, imaginative fight choreography in full with long expansive takes. There are moments that are just incredible to witness, like John Wick utilizing a kicking horse to his advantage, or seeing the full take-down effect of whirling attack dogs in combat, and a two-on-one fight where every glass cage in sight must be smashed to bits. For action fans, the John Wick series is a simplified adrenaline shot where the director and star are working in unison to compose goose bump-triggering action cinema for the masses.
Another hallmark of the series is its sense of macabre humor and the world building peculiarities. Amidst the wild carnage and bloodshed, there are moments that shocked me with how funny they were. I was almost in tears toward one baffling moment toward the very end. I loved that the chief antagonist, a samurai sword-wielding Zero (Mark Dacascos), can also be a fanboy. During a rare moment of downtime, he gets to gush and freak out that he’s actually interacting with the John Wick. There’s a new character played by Asia Kate Dillion (TV’s Billions, Orange is the New Black) who behaves like a peeved middle manager trying to get back on the next red-eye home. She’s the best new addition in Chapter Three. Don’t expect much from high-profile new faces like Angelica Huston and Halle Berry as their screen time is brokered into short segments. There’s a sequence where John combats trained soldiers in body armor, and so he has to constantly be reloading because it takes multiple precise shots to down the bad guys. It’s a smart way to escalate the stakes of the scene while staying true to its world, because who wouldn’t wear everything and the kitchen sink when being tasked with killing John Wick? I laughed out loud when Wick returned to an armory perturbed that he had to reload so soon, muttering to himself in agitation.
The action is relentless and all kinds of fun to watch but the movie starts to lose its momentum by the conclusion. Part of this is by the sense of lowered emotional stakes in its finale (more on that below) and another factor is its general plot-less nature. The entire story of John Wick 3 is the title character trying to outrun the people set out to kill him, jumping from one supposed safe landing spot to another. This works for a frenetic sense of pacing, knowing that any lag time will be minimal before the next kickass brawl. Because the movie rarely catches its collective breath, it can also feel like a mindless video game, with each new location a new level and with innumerable, faceless cohorts rushing in to be battled. The violence can be brutal but also feel a bit programmed, lacking some of the visceral dynamic realism of The Raid movies, the closest equivalent action franchise I can think of. There’s nothing here that challenges the brilliant set pieces and organic complications from the last Mission: Impossible movie. It’s a fun action franchise but it runs the risk of resting on its (considerable) laurels, feeling too same-y, and that can prove deadly. The clever fight choreography, sense of humor, and conviction of Reeves does enough to mask the negative effects of this artistic choice. This may affect people differently especially fans of the series, as lavishly produced action can be rewarding enough to ignore other pressing faults. For me, I was feeling as gassed as John Wick by the end.
The further and further we get from the events of the original John Wick, the less emotional involvement the series seems to ingratiate, especially with its central baddies onscreen. Every dog-loving audience member was wiling Wick to get his vengeance in the first movie. We wanted him to get the bad guy in the sequel. Now it’s basically wave after wave of hired guns that he has to defeat, and without a better connection to that opposing force, the movie franchise runs the risk of losing any longstanding personal stakes. The bad guys are just interchangeable and only present to be dispatched. There’s no emotional victory or satisfaction for the audience if Bad Guy #12 gets toppled by the climax. The John Wick franchise is magnifying this accelerating problem; by making the conflict carry over into an additional movie, and now into another additional movie, the audience is getting further and further distance from the origin of this conflict, and thus its resolution becomes less of a desirable and satisfying goal and more a perfunctory endpoint. I would recommend the John Wick team review 2008’s Quantum of Solace to see a recent example of a big action movie hampered by overextending a thin storyline.
If you’re coming to John Wick 3 for another heaping of high-quality action, you won’t leave disappointed on that front. If you’re looking for signature moves, dark humor, and lots and lots of casual headshots, then you won’t leave disappointed. If you’re looking for a thrilling good time at the movies, you won’t leave disappointed. As a fan of the series, this was the movie I was wanting from the first sequel, dealing with the larger consequences of his rule-breaking life-and-death decision. As the third act ramped up for John Wick 3, I turned to my friend and said, “If this was the second movie, it would end right here.” Perhaps if you watch John Wick 2 and the third movie in short succession some of the problems would be smoothed out, namely a depleted sense of personal stakes and too little plot stretched over multiple movies and counting. I’ll happily continue watching further adventures of John Wick, though I’d be just as interested in an exploration of the world without its titular star. At some point it may be necessary to retire John Wick (Reeves seems to have lost a step, but he’s still like a hundred steps beyond most of us) and when they do, I hope this interesting and peculiar world is allowed to house further weird and exciting adventures. In the meantime, John Wick 3 will more than delight those action urges and sate the action appetites of its fans.
Nate’s Grade: B
At the start of 2019, there were an amazing three Hollywood remakes of foreign films released. It was a peculiar time where we had the American version of France’s global hit The Intoucheables (The Upside), the American version of Norway’s quirky and violent In Order of Disappearance (Cold Pursuit), and the American version of Mexico’s searing beauty pageant crime thriller, Miss Bala. The films didn’t seem like a studio dump job, the new regime quietly dropping doomed movies into the early months of the year to go hopefully unnoticed. The Upside was a $100-million grossing hit, once again proving the durable and international power of that story. The remake I was most concerned about was Miss Bala, which looked via trailers to have strayed so far from the original. It felt like a potent and tragic movie was being turned into an empowerment vehicle, pretty much flipping the artistic intent of the 2011 Mexican original.
Gloria (Gina Rodriguez) is a pageant makeup artist visiting her good friend in Tijuana. The nightclub they’re in becomes a scene of gag violence and Gloria is a reluctant witness to who was responsible. As a result, the cartel gang kidnaps her and forces her to do their bidding, including unwittingly driving a car full of explosives to a DEA safe house. Gloria is forced to be a DEA informant, a courier for the cartel, and all the while she’s searching to find her friend Suzu (Cristina Rodlo). By the end this new “Miss Bala” (“bala” means bullet in Spanish) will be forged by fire and find her strength to fight.
This is a very different version of the Miss Bala story, and for the purposes of this review and critical clarification, I think it would be helpful to reprint my brief analysis of the 2011 film for easier comparison. So here is my 2011 review in full:
“Miss Bala (Mexico’s foreign film Oscar entry for 2011) is an unwavering, startling, and deeply tense movie about one woman’s tragic and unwilling association with a powerful drug cartel. Laura (Stephanie Sigman) wants to be the next Miss Baja California, but she’s unwittingly pulled into a life of crime after she witnesses a gang hit. The cartel ensures that Laura wins the beauty pageant and becomes a courier for them. The movie takes a Lars von Trier approach to storytelling, putting its heroine through a torture chamber of anxiety and terror. This woman only wants to escape the hell she has accidentally found herself a part of, but every attempt to escape, be it going to the police or confessing assassination plots to the intended targets, gets her corralled back into the fray. For Laura, there is no escape. The movie packs a near-constant surge of paranoia, as we fear that at any time something awful will happen. In fact it’s usually only a matter of time. Laura is more a symbol of the collateral damage of Mexico’s billion-dollar drug war than a character, and she kind of becomes a numb zombie by the movie’s latter half, perhaps accepting her doomed fate. Director Gerado Naranjo favors long unwinding takes and handheld cameras, which add a gritty realism and sense of compounding dread to the picture. The movie has an unflinching level of realism to it that makes it all the more haunting, stripping the romanticism from a life of crime. Much like Italy’s heralded crime film Gomorrah, this bleak but impassioned movie shows the inescapable tentacles of organized crime and gives a face to innocents caught in the middle. Miss Bala is a testament to the hidden toll of a nation at war with itself.”
That sounds like a pretty interesting movie, right? It is and is worth checking out regardless of your feelings for the 2019 Miss Bala. The original protagonist was simply a victim of being in the wrong place at the wrong time, and as a result she became a pawn in a larger game of leverage between warring factions. Her entire goal was to simply escape the terrible danger she was in, but every refuge just put her back into the fray or used her for their own devious purposes. The protagonist wasn’t completely passive since she’s constantly reacting to the dangers and dangerous men around her, assessing her ability to escape, who she can trust and when, but she is decidedly less empowered.
That is the biggest divergence with the 2019 Miss Bala, making our protagonist an empowered woman who struts in slow-mo in a ball gown and an automatic weapon, the kind of image you’d see in any number of schlocky Michael Bay action thrillers. Over the course of her harrowing experience, Gloria becomes a Strong Woman, a Fighter Who Fights Back, whereas the protagonist of the 2011 film, Laura, was just trying to be a Survivor first and foremost. There’s a distinct difference in intention and execution there. One is curated with more realism and the other becomes a revenge fantasy. One is meant to disquiet and jar a crowd and the other is meant to be a fist-pumping crowd-pleaser.
I’ll admit there was less action in the 2019 Miss Bala than I had feared from the commercials. However, the action that does occur is indistinguishable from other bigger budget crime shootouts. You’ve got grenade launchers, exploding cars, nightclub shootouts, and other cliché moments handled in relatively cliché ways. There is a final confrontation between Gloria and one of her chief antagonists that includes the line, “I did what I had to do. We both did!” I’m stunned they didn’t feel the need to have the villain denote, “You know you and I are not that different.” Actually, now that I think about it, I’m fairly certain this scene did exist between these characters, with the guy talking about his American upbringing as a means of making connections with her. What I’m ultimately saying is that 2019 Miss Bala kind of misses the point of 2011 Miss Bala. It’s like using the Iron Giant, a figure of pacifism (“I am not a gun”) into a weapon of war (ahem, Steven Spielberg, Ready Player One).
But why don’t you judge the movie on its own merits instead of simply comparing it to its superior source material? That’s a reasonable argument so allow me to do so, dear reader. The new Miss Bala doesn’t work as the fist-pumping crowd-pleaser because it doesn’t know what to do to build its tension and escalation. Take for instance a scene after Gloria is taken in by a rogue DEA agent (Matt Lauria) and told she works for them now. She’s sent back to the clutches of the cartel and then alone in a bedroom with a leader. This guy tells her to start taking off her clothes. It’s certainly an uncomfortable moment, and the camera weirdly lingers on Rodriguez’s breasts as she’s about to remove her bra, but the scene is merely a scuzzy guy wanting to see her skin. What if she was wearing a wire or had been hiding something from the DEA, and then removing her clothes would put her in far more danger than being uncomfortable? To further hammer this home, we have a second scene where he acts sleazy to her, touching her and making her uncomfortable, so why do we need two scenes of this making the same point?
The Gloria of 2019 Miss Bala is also a bit too predisposed to be that figure of empowerment in the face of dismissive and dangerous men. Again, nothing wrong with this storytelling perspective, it’s just the film makes it so obvious and clunky at every turn. Within the first minute of screen time, we see Gloria apply her artistic skills at home, go to work, and be dismissed by a snooty male pageant worker telling her, “We’re not paying you to think.” So, as you can see, subtlety is going to be this movie’s strength. Within the next few minutes she travels to Mexico and gets a friendship bracelet from her BFF and she declares, “You are my family.” Again, subtle. Once the club attack goes down, Gloria’s mission becomes finding her missing friend who she assumes is still alive. In the original (here I go again), the protagonist was only interested in escaping and staying alive, and here we have a main character that must save others. The problem with this development is that the movie, like the above described scene, doubles down needlessly. Gloria is already threatened by the cartel that if she escapes they will harm her godson. Why does she need two personal reasons to stay in the thick of the cartel? She already has the DEA pressuring her to do their bidding or else she’ll never find her way back to the United States. The extra conflicts don’t feel like escalations but more like redundancies.
Rodriguez (TV’s Jane the Virgin) is the best thing going with the 2019 Miss Bala. She is a luminescent actress with skills and was unrecognizable for her in Annihilation. The best thing director Catherine Hardwicke (Twilight) does is train her camera closely on Rodriguez’s face to gauge the pained, panicked expressions playing out across her very expressive face and glassy eyes. Rodriguez is a real talent who can carry herself in an action vehicle (her muscular turn in Annihilation was a genuine pleasure). She could headline an action movie, but this isn’t the one for her. Her desperation and fear gives way to a quiet confidence that loses the “quiet” part as she undergoes a slow-mo action hero transformation when the movie needs her to zip to the end of her character arc.
I would thoroughly recommend the 2011 Miss Bala for fans of thoughtful, intense, and affecting thrillers. The paranoia and dread were strong throughout that combustible movie that had more on its mind than some cheap thrills. Comparatively, the 2019 Miss Bala remake feels only designed for cheap thrills and a misguided empowerment message. As the main character is turned from a survivor into a fighter, the edges smooth out, the complexity gets distilled, and the movie becomes any other number of action thrillers where our fragile, scared character becomes an avenging angel by the climax. If that’s your recipe for an enjoyable movie, 2019 Miss Bala still has problems with its execution and poor development. You won’t regret watching the new Miss Bala but your time would be better spent watching the original film and hoping better for Rodriguez.
Nate’s Grade: C
S. Craig Zahler is the real deal when it comes to budding genre auteurs. He’s been writing in Hollywood for some time and after numerous un-produced scripts he finally decided to take matters into his own hands. In 2015, he wrote and directed the terrific and terrifically violent western Bone Tomahawk, and then in 2017 he tried his hand at another genre movie, the brutal prison drama, Brawl in Cell Block 99. Now Zahler has hopped to another genre, the more familiar cops-and-robbers crime thriller territory, Dragged Across Concrete. I’ll watch anything that Zahler decides is worthy of his precious time, and I was unprepared for how engaging, exciting, and uncomfortable the movie made me. It’s still early but I already feel confident this is destined as one of my favorite films of 2019.
One bank robbery. Many different sides fighting for the score. Henry Johns (Tory Kittles) is an ex-con fresh for prison and attached to a crew thanks to a childhood friend, Biscuit (Michael Jai White). Brett Ridgeman (Mel Gibson) is a police detective who has been in the same position for nearly 30 years. His wife has MS and his daughter is being assaulted in their urban neighborhood. His partner, Anthony Lurasetti (Vince Vaughn), is struggling to work up the nerve to propose to his girlfriend and he sees his partner slipping. Both of them are on suspension after a video of them beating a handcuffed suspect appears online. Then there are the mysterious, masked men (labeled as Grey Gloves and Black Gloves) working alongside Vogelmann (Thomas Kretschmann) who hire Henry John and Biscuit to be their getaway drivers. This culminates with a bank robbery that places every character in greater jeopardy as things spin out of control.
What separates Zahler from the pack is simply the magnificent manner he can write scenes, building and building, unlocked intriguing character details, building to startling conclusions or everyday relatability given a new, brash context. It’s a screenwriting edict that every scene should in essence be its own story, having a beginning, middle, and end, a drive, and if possible a reversal to something unexpected, shedding further examination onto a problem, person, or setting. I was greatly enjoying just watching the various characters talk in their understated, hard-boiled, often funny conversations, which don’t feel too self-consciously stylized. It’s just damn good writing. Even when they’re doing bad things, or mistakes that cost them greatly, Zahler has his characters respond like people and not hip, soulless movie cartoons. There’s a reason Concrete is two and a half hours long and that’s because Zahler really lets his scenes breathe at their own pace, which can be too languid if it wasn’t for how exquisitely written they are, particularly with character details. Each scene sheds a startling non-judgmental spotlight on a different character, some criminal, some corrupt, most struggling to keep their heads above water and provide for family, and you feel the narrative expanding, growing, transforming, and providing the needed space to make these people feel real.
Each one of these scenes could be a marvelous short film upon themselves, and sometimes it feels that way with the skipping perspectives. What happens to Jennifer Carpenter’s character, a woman beset with anxiety about returning to work after maternity leave, is its own wonderful movie that provides a glimpse into a life and in only five minutes’ time. Her reluctance to go back to work, her need to be with her child, the simple, heartfelt plea with a child’s sock. It all works in impressive tandem to make this person feel authentic. The same with an exchange between two lifelong friends about a birthday cake and naming dinosaurs, reaching back to ease the current tension. It’s insight rarely afforded to characters in a standard heist movie. The actors are all given these artistic arias to work with, and the extra attention to detail brings a depth of dimension that makes them feel fully realized. Zahler has captured recognizable, complicated human beings and placed them in a pulpy genre movie. This is the sort of A-level elevation of B-movie material that is usually the purview of Quentin Tarantino.
Because of my general awe with the characterization, Zahler had the added benefit of making the rising dread feel powerfully unnerving. It’s major a slow burn of a movie, setting up the various players that will be directly or indirectly involved with the robbery, and that robbery doesn’t even hit until well after an hour into the film. Because of that patience, or self-indulgence some will decry, the movie fleshes out all the participants and their various motivations so that the audience feels degrees of sympathy for many people on different sides of the equation. This leads to amazing tension for the last hour. I was tying myself in knots waiting for awful things to happen to characters I found compelling because, frankly, awful things happen easily in Zahler’s movie universe. There is a stash of guns in the glove compartment of a getaway van. The first sequence involves the growing tension of characters placing themselves in a vulnerable position by giving up their weapons. Then, as the scene transforms anew, the guns in that compartment become a reminder of an ironic advantage that only one character knows about, and we wait for their retrieval to escalate the danger of the new scenario. That’s fabulous writing with organic developments. There are several characters at cross-purposes with little reason to trust one another, and so we wait for that looming explosion of violence fed by mistrust and greed. Zahler understands this and that’s why many of the scenes in the last hour follow the writing style, slow burns that hang onto the unease and breathing space. There are several long takes aided by long shots that amplify the gnawing tension, as your eyes scan the screen waiting for the boom.
I’ve read more than a few negative reviews for Dragged Across Concrete and I don’t understand their central criticism, namely that Zahler’s movie is “problematic” because of a supposed conservative, bigoted point of view. I think these critics are conflating a featured viewpoint with an endorsement of that viewpoint. Take for instance the brouhaha that erupted over a 2015 episode of the Hulu comedy series Difficult People where a narcissistic, caustic character makes an inappropriate joke featuring super scion Blue Ivy and vilified R. Kelly. In the context of the show, the character is berated for her off-color joke and suffers social consequences. When the episode aired, people went after the show and producer Amy Poehler and entirely missed the point. The character was not put in a positive light for making this joke. She was shamed. Clearly the show did not endorse her behavior but others could not see through their own misplaced outrage. With Dragged Across Concrete, we are presented with middle-aged police officers with a chip on their shoulder who feel justified in engaging in brutality against a suspect of color. That’s not a good thing. Zahler’s film does not endorse their actions or worldview but allows them space to exist, filling in their experiences, so we have a greater understanding of how their perspectives have been honed and hardened over time. It’s the same empathetic lens given to other people, like the opening where Henry comes home and discovers his mother has been forced to turn to prostitution to fend for herself and Henry’s disabled younger brother. I don’t think Zahler endorses the abusive cops any more than the ruthless masked killers.
I’m keeping things light in this review for the reason that I want you, dear reader, to be surprised by the many twists and turns of Dragged Across Concrete. As the film builds in intensity, the body count rises and the conclusion feels inevitable because of the superb writing that laid a tight foundation to build upon. Even in death, the characters stay true to whom they are, which can often be very not nice people. The acting is great from every player. This movie grabbed me from the beginning and refused to let go and I was genuinely spellbound from Zahler’s storytelling prowess and ability to weave a net of complex, flawed, humane, and fascinating characters into a tragic scenario of violence that left me anxious and exhilarated. When people complain that Hollywood isn’t making thinking-person films for adults, please invite them to the burgeoning oeuvre of Zahler, who is charting a path for himself on his own terms thanks to his instincts and tremendous writing voice. Dragged Across Concrete is a ferocious punch to the gut in the best way possible.
Nate’s Grade: A