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Dragged Across Concrete (2019)

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

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