Dragged Across Concrete

For me, S. Craig Zahler has become something a newly emerged American filmmaker, whose every next film in an incredible experience. This is the third time I meet with his craft, and it is once again the case. The precise dialogues might be not as filled with pop-cultural references as those in Tarantino’s movies, but they are wonderfully on point. Add in the brutality that doesn’t pull any punches. At the same time, it makes you wonder how far a film can go and not to cross the line. Here there’s at least one scene that crosses it, and I think the director likes to include something like this in his every movie. Moreover, it is interesting that he makes his movies based on his own script and uses his own music as accompaniment; he might be something of a genius. Moreover, the movie features the perfect duo of Gibson and Vaugh, who look like a throwback to the 1990s. Simply fantastic, what can I say. Had ti been a bit shorter, I’d have given it five stars. I understand that the director made some scenes longer on purpose for the atmosphere, but sometimes it was too much. Anyhow, it remains a decent action movie, one of the most distinctive ones in the recent years. (13.08.2019)

Who is on the wrong side of S. Craig Zahler's new film? The whole world, as usual. A slow-burning heist / police story / buddy romance without emotion, Shotgun Safari in slow motion. Emotionally, it is the Coen Brothers meet Lethal Weapon in an alternative reality, where cruelty knows no bounds and fate is hungry for the blood of innocents. Zahler is one of the few filmmakers who can claim the title of original and visionary. The previous Brawl in Cell Block 99 was somewhat more of a compelling, radical, immersive monster, but watching Mel Gibson for two and a half hours in one of his best roles amounts to great satisfaction. Plus, I value another Sy Ableman feat. Fred Melamed with Jewish gold. (26.03.2019)

Two cops are suspended for six weeks. They need money and are angry, so they decide to rob a gang that is planning a big heist, but things go a bit wrong. S. Craig Zahler is still as uncompromising, surprising and unpleasant with his third film. And even though we already know what to expect from his stories, this time he manages to shock and unsettle and is as cruel to his audience as he is to his heroes. Fans of the director will not be disappointed by his new film, because this is exactly what we wanted to see from him. (25.03.2019)

A procedural analysis of a (non-)police crackdown with a long exposition and an unpredictable climax. A dark, cruel alternative to the beloved mainstream Lethal Weapon, in which Lieutenant Martin Riggs finally turns his back on the system and political correctness and, in Dirty Harry style, aims at the hell of an upgraded version of The Big Lebowski’s nihilistic SOBs. Given the length of the movie, not that much actually happens in it. I would cut its events into the first two hours and then use the last thirty minutes to let the real hell break loose, because the movie could use some of that – an inferno where the villain Thomas Kretschmann would get more character development. What can you do? Zahler spoiled us with the more elaborate and achingly perfect Brawl in Cell Block 99. In spite of this, Dragged Across Concrete is still a hell of a ride that amuses with its uniqueness and can be pretty chilling. And Zahler adds some welcome finishing touches to his previous masterpiece, like with Jennifer Carpenter’s character, who kisses the legs of her toddler here. P.S.: I would show the bank scene in its entirety. [Sitges FF] (10.10.2018)

“We have the skills and the right to acquire proper compensation." It is typical for Zahler that overarching plot is simplistic and the story in terms of “who, what, why, how" is clear from the very first moment. Basically, according to all principles, the story line should not be enough for more than a two-and-a-half-hour film. But it is. And the reason for that is unusually strong dialogs, characters and performance and gradation of individual situations. This is also reflected in his “author´s" directing. The scenes, as he shows them, would barely last a few seconds in movies of other´s directors or ended up on the floor of the cutting room. But in his movie these scenes are highlighted. He let them slowly flow in a non-film and statical way for long minutes “where nothing seems to be happening and where there might not be any reason for them". But there is. Subliminal tension, characters and actors who have the space to perform minimalist performances benefit greatly from this. So, it's still true that the length and slow pace are justified (except for the unnecessary anabasis around the character of Jennifer Carpenter) and that it's so unique that it's not for everyone. This time it applies even more, because inevitably many will confuse it with the film's message / opinion of the film maker and not of the characters, due to the real right-wing racist main characters of the “white angry middle-class men". But we can only blame time we live in. And we must admit that this time Zahler uses the “troll" level quite deliberately and damn skillfully (about 70%). Fortunately, however, this does not overshadow the fact that this honest and harsh criminal movie from an older than old school is mainly and above all based on the characters an (100%). (24.03.2019)