Imagine waking up one day and having real-working handguns bolted into your hands. That’s the wild premise to Guns Akimbo (akimbo means, in this context, “flung out haphazardly”), a frenetic action comedy that never takes itself too seriously. Miles (Daniel Radcliffe) is a computer programmer who takes it upon himself to harass online trolls. One of these trolls, the proprietor behind the death match game show Schism, takes it personally. He drugs Miles and has his cartoonish goons give him the gun-hands. He’s the latest contestant on Schism, and the top-ranked assassin Nix (Samara Weaving) has been selected as his competition. Miles has to fend for his life, while not arousing panic or the police, and he can’t even open a door.
It’s a bonkers, proudly juvenile action comedy that starts off at a breakneck speed and rarely lets up, and there’s a good reason for that – Guns Akimbo is a lot of flash and little else. It’s a movie that’s constantly in your face with its stylistic tricks, crass humor, wanton violence, and bizarre touches, and for a decent portion of the movie it kept me entertained. The rush of colors, movement, and profane insanity can be enjoyed on a certain level that doesn’t require much in the way of thinking. If you need a turn-off-your-brain action comedy, Guns Akimbo can work on that level, but if you think a little more the illusion begins to dissolve. I start to question the reality of this world, which seems more akin to something from The Purge but lacks the satirical through line of the Purge franchise. The satire of Guns Akimbo feels tacked on and often forced, much like the setup of its premise. There’s really nothing about firearms or gun culture covered, which seems bizarre considering the premise. The “troll culture” aspect of the movie is barely covered, setting it up as a straw-man argument to lambaste the general indifference to human suffering. We never really return to it except for brief moments to score easy points. Miles is a troll to trolls, and they get so incensed that they go to extreme lengths for vengeance from… being trolled? Is this to imply how fragile online trolls are as people? The world of the movie seems to acknowledge its Running Man-style online death game shows but the rest of the world goes on normally without commenting. It feels like someone just dropped in a fantastic element into the normal world and nobody acknowledges it as such. I thought maybe at the end it would turn on the Schism viewers but no. They’re basically like those five or six audience faces we jump around for reaction shots, like in The Truman Show. The satire of the movie feels more like a superficial finish.
From the first sequence of stylized violence on, I made a note of how overly edited the action was. It wasn’t quite to the hyper-edits of Michal Bay’s kaleidoscopic realm but it was noticeable and made it harder for the action to be understood and appreciated. You get the premise of the scenarios, two cars chasing after one another and firing, but it’s presented in such a blizzard of images, sounds, and colors that it’s more the impression of the scene rather than a development. This impression was always present when we watch Nix storm through a drug den and lay waste to every armed goon inside. Here is a scenario where all I want is some stylized violence and fun fight choreography, but what I got was more of the same incomprehensible jumble. Nix shoots. Bullets hit skulls. Blood splatters. The camera is constantly zooming, or careening, or flipping upside down, and after a while I just gave up and accepted it’s all only impression-based. It’s about the immediate energy and not what’s actually happening onscreen. I wasn’t going to get any interesting fight choreography. I wasn’t going to get any memorable bits of crazy action. It was like a junkier version of Wanted, with a super-powered player running through a level and clearing over-matched opponents. Without more, the same action can get boring. The same happens in a junkyard clash between gangs. The only action sequence with a satisfying development was a car chase where Nix attacks with the spinning wheel of her motorcycle. Guns Akimbo has decided to overwhelm your senses to distract from its action restrictions.
As a crazy comedy, Guns Akimbo is more successful and fun. I found the physical comedy to be a consistent and enjoyable source of entertainment. While the action might get boring, watching Miles simply deal with the logistics of his gun-bolted hands made me laugh and cringe constantly. How does one go to the bathroom with gun-hands? Put on their pants? Open a door? Drive a car? It’s a dose of slapstick that doesn’t have to dip into edgy material in order to make its mark. Radcliffe is genuinely fun to watch during these sequences, as it plays to his strengths of melding awkward clumsiness and nervous high-strung energy. Thankfully Radcliffe is set for life thanks to the Harry Potter movies because he has consistently chosen really weird and interesting film roles, almost to the point where his presence in a (non-studio) movie is enough to guarantee a watch. He brought stunning humanity to a farting corpse in 2016’s Swiss Army Man and gave a tour-de-force physical performance. He’s an actor who commits no matter how silly the role, and it’s a delight to watch him try and make sense of the escalating madness around him with his unique physical disability. I was enjoying even the smaller moments like Miles’ difficulty hiding his alarming ailment with transparent lies or his interaction with a mentally ill homeless man (a scene-stealing Rhys Darby).
As the movie kept going, I felt my interest growing and that was because of the increased presence of Weaving as Nix, who is clearly the star of this crazy movie. Weaving should have been a Hollywood star after Netflix’s The Babysitter, and she was just as wonderful as the heroine in last year’s Ready or Not. Her character isn’t exactly much more than a murder pinup, a comic character come to life. She’s nearly unrecognizable in her punk rock assassin attire, including literal bullet teeth. She’s all nihilist attitude and clunky one-liners (“Suck my clit” needs some work). She has a tragic back-story that sets her up for vengeance and that’s all that’s needed from what could be a completely interchangeable back-story. It only serves as a needed character motivation point, one that is more compelling even in its shallow nature than Miles, who is on the run for his life but really is about trying to save his ex-girlfriend (Natasha Liu Bordizzo) who serves mainly as a damsel in distress for the last act. While I enjoyed Radcliffe as a performer, this is Weaving’s movie from the moment she struts into the frame. Her charisma pops off the screen even as her character is criminally blasé. She’s the kind of character that will pick up a dismembered middle finger just to give someone the gesture. Nix is more so a collection of weird and hip and sexy tics than an interesting character, but it’s Weaving and her jubilant, dangerous degree of fun that makes the character a scrubby version of Harley Quinn.
Guns Akimbo is like tasty junk food that can satisfy a very specific cinematic craving but you know, even as you’re consuming it, that this won’t be anything special. I wish the film had gone further in any direction, whether it was with the comedy, whether it was with more finely choreographed action, or whether it was in more outlandish set pieces like in 2007’s Shoot ‘Em Up. If you want to be a crazy cartoon, be a crazy cartoon. Give me even more characters like Nix and over-the-top violence that does something different besides geysers of head shot wounds. Guns Akimbo might work as a lesser Crank movie. This movie seems either to be too satisfied with itself or knowingly hiding its shortcomings with energy, edits, and attitude. I can’t tell which. Guns Akimbo is easy on the brain and maybe a little too easy on itself. My 13-year-old self would have loved this movie.
Nate’s Grade: C+
Grace (Samara Weaving) is marrying into a rich family of socialites, famous for their family’s history with board games. Grace’s husband is reluctant about his bride joining the family he had walked away from for years. There is one big tradition: every new member of the family has to play a game upon their wedding night, dating back to the great grandfather who founded the family company through a chance encounter. Grace pulls a random card that says hide and seek, and that’s the game they must play. She’s bemused at being enlisted into a child’s game but little does she know that the family is arming themselves to find and murder her. They fear that if they cannot kill her before dawn, they will all be doomed thanks to an old curse.
The movie is entertaining from beginning to glorious ending thanks to finely developing its unorthodox premise and staying consistent tonally, whether it’s dark humor or tension. This is a very funny movie. In fact, I laughed more and harder during this film than I have with movies sold as comedies. It’s not afraid to spin its macabre premise for fun, but it impressively doesn’t lose sight of character and scenario along the way. That means that the screenwriters are deriving their humor from the absurdity of their situations and finding organic wellsprings of comic relief. The humor doesn’t detract from the danger of the moment while also enlivening the rest of the movie. The incredulity of the situation leads to some wonderfully ironic moments, like one relative studying YouTube videos for how to operate a crossbow, someone looking up on Google whether or not deals with the devil are real, and a running gag of the estate’s maids meeting horrible accidental deaths. And then there’s the ending, which finds a wonderful way to essentially have its cake and eat it too. I won’t spoil it but the ending to Ready or Not is a fist-pumping, cheering, clapping, highly memorable closer, and one of the best endings in years. It’s one of those endings you can’t wait to talk about with others.
All of the various family members have little notes to play and character beats that provide a more realized glimpse into their histories and the family dynamics than I would have anticipated. It made me feel like the filmmakers had given great consideration to even the smallest of details in what is, at its core, a murderous version of a children’s game. There’s the wife to Adam Brody’s character who is all-in on whatever it takes to maintain this family because she hints at what kind of horrible life predated her new life here. Then there’s the patriarch of the family who is all about ceremony and staying true to the rules until he has to experience the smallest challenge and wants to use whatever cheats he can at his disposal, arguing that great grandfather would use security cameras too if he could and why should they be penalized for simply playing the game in a more technologically advanced era. He’s just another rich douchebag who drops his pretenses the moment something isn’t handed to him. The characters are varied so that you can never feel relief when anyone is in a room, and that even includes the children, who seem destined to become new participants in this cycle.
Even with its tongue-in-cheek humor and premise, there is a lot of clever thinking put into Ready or Not. There are plenty of setups that connect to later payoffs, including that amazing finish. The screenplay by Guy Busick and Ryan Murphy thinks things through step-by-step so that it’s always ahead of the audience. If any of us found ourselves in this scenario, we would likely try and escape as quickly as possible to an outside refuge. They provide an explanation for that hurdle. Then when Grace finds a way out, the screenplay finds a logical yet clever way to curtail that escape. There is a gruesome sequence where Grace suffers a specific injury and then has to pull herself out of a bad situation, and the movie sets up a gnarly out that connects to that injury, and I sat with baited breath just waiting for the puzzle pieces to connect, and Ready or Not has several moments like this. It’s a fun movie because while it doesn’t take itself that seriously it’s very serious about its storytelling and structure.
Weaving deserved to be an A-list actress after her star-making performance in Netflix’s The Babysitter. This woman is so magnetic and so great at roles that require a tightrope of tone; she sizzled as the darkly advantageous yet lovable babysitter in that other movie, and with Ready of Not she’s our increasingly baffled heroine just trying to make sense of the insanity. The audience gravitates toward Grace pretty quickly as a grounded woman who seems genuine about her desire to have the family that she never formed as a foster child. There’s a latent tenacity that emerges from Grace as she pushes herself through one survival scenario after another. Unlike the similarly themed You’re Next, Grace is not some secret badass raised by crafty survivalists. She’s a normal person thrust into a very abnormal situation, and her responses stay reasonable and formidable when called upon. She is our center for the fun and she makes a winning heroine, and Weaving is so good at the heavy moments, the gross moments, the sly moments, that she deserves to have great material handed to her because she is ready, Hollywood.
Ready or Not is a sneaky, nasty, delightfully dark little movie that left me hooting, hollering, squirming, and grinning with satisfaction. It’s a late summer surprise that delivers everything I was hoping for and has great, delicious fun with its humor and violence. It’s smartly paced, smartly structured, with supporting characters that leave a mark as well as thematic questions over culpability and group think. This is the kind of movie I wish Hollywood was making more of, with screenwriters that can take a premise and write the best possible version of that and with the best possible ending. Any misgivings I have for this movie are small quibbles, like maybe more specific payoffs linked to onscreen deaths, but even that would detract from later events and payoffs, so even my quibbles can be excused. Ready or Not deserves to be seen with a raucous crowd that will appreciate it to its full extent. I look forward to the Twister-heavy sequel.
Nate’s Grade: A
Mildred (Frances McDormand) is a divorced single mother working in the small town gift shop of the small town of Ebbing, Missouri. It’s also been seven months since her teenage daughter was raped, murdered, and set on fire. She rents out three billboards on a rarely used side road to advertise her frustrations with the slow pace of law enforcement. The billboards say, “Raped while dying,” “Seven months and no arrests,” “How come, Chief Willoughby?” The chief (Woody Harrelson) tries to pacify the grieving mother while keeping his loyal officers in check from retaliation. Deputy Dixon (Sam Rockwell) is trying to apply pressure to get the billboards removed by any means. The small town loves their sheriff and turns on Mildred, which suits her just fine. The more people that disagree with her the more it helps fuel her sense of righteous indignation. Mildred engages in an escalating series of battles with the police and town that might just make justice impossible.
Three Billboards Outside Ebbing, Missouri feels like a Coen brothers’ movie played straight, and it’s borderline brilliant in its depiction of homespun characters allowed tremendous emotional latitude. These are people with complex depth who are allowed the power to be contradictory. They can be vicious one moment and kind the next, wise one moment and impulsive and self-destructive the next, capable of great acts of mercy and cruelty. This achieves two things: 1) making the characters feel far more convincingly drawn, and 2) making the characters consistently surprising. This is a messy movie but I don’t mean that as any intended insult. It’s messy in scope, messy in tone, and yet it thrums with the messy feelings and messy complications of human tragedy. What happened to Mildred’s daughter is utterly horrifying and her rage is righteous; however, that doesn’t sanctify her. She makes mistakes, pushes people away, and can be cruel even to her own family. I was expecting Harrelson’s police chief to be a sort of villain, either incompetent or conniving, willfully ignoring the murder investigation. This is not the case at all and he is full of integrity and rightfully beloved in his community. As happens in many criminal cases, the trail of evidence just ran cold, but Mildred would prefer every male in the city, state, and even the country be blood tested to find a culprit. Her demands are fundamentally unreasonable and Willoughby points out the many civil rights protections in possible violation. Just because Mildred has been wronged does not make her the hero, and just because Willoughby is the face of local law enforcement does not make him the enemy. They are people with much more in common than they would ever admit. The awful circumstances of the plot have pit them against one another in an escalating tit-for-tat that serves as projection for Mildred’s blinding fury against a world that would rob her of her daughter.
The dichotomy of sweetness and terror is best exemplified in the transformation of Mildred and Dixon, one of the most satisfying and engrossing film experiences of the year. Thanks to writer/director Martin McDonagh’s deft handling, these two characters start at opposite ends and grow before our eyes. Mildred tests the limits of her resolve and anger and makes costly mistakes. Dixon begins as the screw-up with a badge (hat he literally misplaces) rumored to have tortured a black prisoner in jail. He seems like the dim-witted poster boy for unchecked masculine privilege. He feels like an enforcer of the corruption we (wrongfully) assume is at work in this small town. As Mildred descends into darker decisions, Dixon ascends and chases a redemptive arc, which is amazing considering the damning behavior he engages in at the halfway mark. These two characters start as adversaries and develop into begrudging allies in a completely organic way that doesn’t blunt either character. That transformation is thrilling to watch and terrifically satisfying on its own terms. By the very end of the movie, I was ready and willing to watch its hypothetical sequel setup, especially if it meant I got to spend more time with these carefully crafted people.
McDonagh’s film juggles many tones, effortlessly switching from laugh-out-loud comedy to crushing drama and back again. I was genuinely surprised how many times I laughed and how hard I was laughing. During my second theatrical viewing, there was an old woman in the back who was quite vocal in her bafflement about how anyone could be laughing. And if you were told the specifics of the plot and its heavy subject matter, I would tend to agree. McDonagh has a preternatural feel for how to find humor in the most unlikely of places. The humor dissipates as the film marches into its second half, a natural byproduct of having to raise the dramatic stakes and make things feel serious. This is the first grounded drama in McDonagh’s filmography (In Bruges, Seven Psychopaths). He doesn’t shortchange the impact of his drama by weaving in more heightened comedic moments. The characters feel realistically developed and portrayed and are allowed to exist in moral grey areas. There’s a minor character played by Peter Dinklage who is positioned as a romantic option and a bit of a fool, but by the end you feel degrees of sympathy even for him. Even this most minor of supporting characters (not a comment on Dinklage’s stature) has earned your emotions. That’s great storytelling but it’s also tremendous execution from the director. Another sure sign of McDonagh’s command for tone is that he undercuts his story’s moment of triumph. I’ll dance around spoilers but Three Billboards looks to end in a way where several characters would claim a hard-won victory, and McDonagh casually strips that away. Even though this is a movie, and even though there are moments of broad, irony-laced comedy, the complexities and disappointments of real life emerge. Even to the very end, Three Billboards doesn’t follow the expected rules of How These Things Go.
The excellent acting gives further life to these tremendous characters. McDormand (Fargo) is radiating with ferocious resentment and indignation. Her character is a walking missile that just needs to be pointed in the right direction. Her stares alone could cause you to shrivel. McDormand hasn’t been given a character this good in years. She opens up the full reserve of her deep acting reservoir, able to flit from great vulnerability to intense repulsion. She has plenty of big moments where she gets to tell off the disapproving townspeople and media members. It’s ready made for easy laughs, but McDormand is so good that she shades those moments with subtler emotional nuance. You get the laugh and you also get further character insight. It’s a performance of such assured strength that I imagine you’ll be hearing her name often during the awards season. Rockwell (The Way, Way Back) has also never been better. He has to play a similarly deep array of emotions, from idiot comedy to heroic dramatics, and at every point Rockwell is stunning. He makes every joke twice as funny. When Dixon becomes a larger focus of the story is when he undergoes more intensive introspection. He goes from buffoon to three-dimensional character. Harrelson (War for the Planet of the Apes) also delivers a worthy performance as a proud yet wounded man who is trying to do right against a world of pressures and self-doubt.
Three Billboards is an impressive, absorbing, searing film gifted with some of the best-developed characters in 2017. The portrayal of the characters is so complex and given startling life from such amazingly talented actors. You’ll watch three of the best performances of the year right here. You get a really strong sense of just how life has been irrevocably altered from this heinous crime, not just with Mildred but also for the town as a whole. Things cannot go back to being the way they were. The characters you like can make you wince. The characters you don’t like you might find yourself pulling for. Thanks to the complexity and nuance, the film delivers a raft of surprises, both pleasant and painful. These people feel closer to real human beings. McDonagh’s brilliant handling of tone and theme is a remarkable work of vision, cohesion, and execution. This is a darkly comic movie that can make you bust out laughing and an affecting human drama that can make you cry. It takes you on a journey that feels authentic and wildly entertaining. Three Billboards Outside Ebbing, Missouri (which should have simply been called Three Billboards) subverts typical Hollywood clichés by making sure, even during its wilder flights of comic fancy, that everything is grounded with the characters first and foremost.
Nate’s Grade: A