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He plays around with light and dark, but mostly dark, and a lot of the story takes place in shadows or low illumination.
He's unapologetically making well crafted, non-winking exploitation movies and that's become rare. Some of her colleagues were killed during the heist, and one was castrated for no real reason except as a declaration of flamboyant cruelty — putatively on the part of the villains, though the blame really lies elsewhere. I’m a bit bummed that the only theater it was playing at in my area was in Manhattan and I wasn’t going to take an hour train ride into the city to see a movie that I could watch on demand. A severed hand or finger probably would have sent a similarly strong message to the terrified bank employees.
I also think the staging of that dock shootout in the opening is super sloppy - just so obviously fake it's almost surreal. Mel acts so rarely nowadays you kinda forget what a magnet that guy is on screen. But I loved it. I really enjoyed this movie. There are ostensible good men turned bad, and one who is perhaps less bad. Concrete wasn’t bad I loved brawl and bone tomahawk. Just the other day, someone commented on a thread here that they miss the "serious crime dramas/thrillers punctuated by brief scenes of intense, visceral violence," and that's exactly the vibe I get. Any 2.5 hour mice that devotes the last half to one gunplay stand-off is A-OK in my books.
Tomahawk was probably the best of the three, followed by Concrete, IMHO. Some of the dialogue pulled me out of the movie but I was engaged until I was gripped and then I couldn't look away. Agree about the mini-story... but maybe you can explain to me why Carpenter's character wasn't the one taken hostage? New comments cannot be posted and votes cannot be cast, News & Discussion about Major Motion Pictures, Press J to jump to the feed. Absolutely love his style. Just finished it. But I guess sure it can be a discussion b/c i've always wanted to make a topic but figured nobody would give a shit - I googled the film and it received middle of the road reviews, but lots of articles I couldn't help but notice was "right wing fantasy" from fairly big critic names and it was a repeated thread "you're MAGA if you love this" and I only bring this up b/c someone I recommended the movie to brought this up after looking it up and questioned me lol.
After seeing Bone Tomahawk, I’m split down the middle about it. Definitely Zahler's strongest movie from a filmmaking standpoint. Director has some serious racial comments to make, seems like, looking at these films together.
But that mansion ending, plus the gold delivery, made me super happy. (Also makes Kretschmann's "loved ones" threat dovetail deliciously with her motivations.)
I went in 100% blind. I finished watching it just now and searched for any mention of it here.
The castration certainly underlines the depravity of the villains, who with each bullet and flick of the blade strengthen the case against them, paving the way for their preordained bloody punishment.
Have you watched brawl in cell block 99? Two policemen, one an old-timer, the other his volatile younger partner, find themselves suspended when a video of their strong-arm tactics becomes the media's cause du jour. Easily one of the more interesting filmmakers out there right now.
I've come to really like him as a writer and director; his films are entertaining because there is no irony. I still like Zahler and Vaghn and (uhg) Gibson, but in a "love the art" type of way.
Every trailer from the late 80s and early 90s.
Dragged Across Concrete (2019 Movie) - Official Trailer – Mel Gibson, Vince Vaughn, Jennifer Carpenter
There was probably enough character development of the cupcake coworker to blow her apart and get the appropriate effect for the heist scene. Like that new Clint Eastwood film. ... it’s right in the vein of movies I love.
They do, which makes optimistic viewers suckers. I loved it, just like I loved 99 and Bone.
A dribbling tear tells you much about “Dragged Across Concrete,” a self-satisfied slow burn of a movie. The overall tension would be incredible for the whole final act, and the demise of three protagonists would have been crushing on a whole other level. More like Heat and Pulp Fiction, more Heat, New comments cannot be posted and votes cannot be cast, News & Discussion about Major Motion Pictures, Press J to jump to the feed. Maybe watch Cell Block first. I'll always watch Zahler's films on day one. Click here to see rankings for 2019 films, Click here to see rankings for every poll done. Low on cash and with no other options, these two embittered soldiers descend into the criminal underworld to gain their just due, but instead find far more than they wanted awaiting them in the shadows. Recommend you check out those 2 if you liked Dragged Across Concrete, OP. It kept me engaged and I enjoyed the practical effects especially the part when the women get's her hand and face blown apart. Before long, Brett is pressing one of his boots down on the neck of a handcuffed Latino suspect and tossing a near-naked Latina woman into a shower for an interrogation — a Mickey Spillane-style warm-up for the sadism to come.
She shows up, Zahler makes you actually feel sad for her, then bam the character they set up goes out in the most depressing way ever. It was fucking horrible, and great. Click here to see rankings for every poll done. Feels real to life, not sure if Zahler's other films do this too. I love the long wide static takes of seemingly unnecessary dialogue. Definitely recommend it.
I loved Tomahawk and enjoyed Cell Block 88.
Mostly, though, it is directorial swagger, just like the tear that spills from the duct-tape blindfold. His choice of actors is terrific, and I can’t wait to see Mel in this.
Press J to jump to the feed. Tomahawk was basically not even a horror movie until the last 15 minutes, just a genuinely stellar western movie. It's a straightforward heist-goes-wrong crime thriller but with great writing and stomach churning violence that you've come to expect from Zahler. I Loved the dialogue between the 2 mains. All the characters go through a long tunnel until they see the light. But I eventually got around to seeing the movie anyways and I LOVED it, so I won't judge from his trailers. He's working the same ground as Tarantino, making pulpy genre pictures but with style. They really didn't show much of anything major in the trailer, though, which is surprising. Two police detectives find themselves suspended when a video of their strong-arm tactics is leaked to the media. After Bone Tomahawk & Brawl in Cell 99 I was pretty pumped for this but found this pretty lacking. I mean like, w/o getting too political, the characters are who they are and react accordingly, like just looking at the film alone, I personally would say everyone is an anti-hero or even just an asshole. Slowly building the story up with great characters, dialogue and drama, slowly upping the tension step by step until it finally explodes in an ultra violent release at the end. The first 15 minutes had me ready to switch it off. What's nice is that he takes his work seriously, just because he's making an exploitation film doesn't mean he neglects character arcs, motivations, or ignoring dialogue scenes. It's an excellent film. Loved it though, the title aptly describes the pace of the movie but I don't think any of the running time's wasted, it pays off. He’s clearly given a lot of thought to this strain of detective-gangster fiction, to its cruelty, extremity, pessimism and flashes of nihilism. what's wrong with it? I love how he paces his movies with their slow burn, how he often lets the camera linger in scenes long after others would have cut it.
Very gritty and a touch of grind house to it. Was such a funny bit but also humanized him, and really paid off with Vince refusing the hear the % of his proposal being successful.
Vaughn is doing something a little different, Mel is engaged and contemptuous throughout, a sick man doing something bad hoping something good will come of it. I feel like this is the kind of movie that would piss a lot of moviegoers off if it got a wider release, not only because of the subject matter but because of Zahler's style.
It’s a reminder that spectacular violence can be a useful tool for slapping stories and viewers awake. Yeah it was fantastic.
I want sure if it was supposed to be like that for some reason, but if so, I didn't get it. “Is this a guy or a girl singing this song?”, “Not that there’s much of a difference these days. When a bullet hits a persons head it's tends to look really horrible. If I have one general criticism, which applies to all of his movies, is that they could stand to lose 10-15 minutes.
Even inside our auditorium was listed as how to train your dragon, some kids almost walked in. The only downside I can see is that we'd miss the opportunity to establish that protagonists can die brutally at any moment.
Zahler just lets her racism hang in the air unanswered, which says plenty. Right? Loved it. He also has a black girlfriend, which is presumably meant to complicate his character but instead feels like a directorial hedge.
Jennifer Carpenter's mini-story is a weird, blazing heart beating in the center of the carnage. The most sympathetic character, Henry (a fine Tory Kittles), occupies another story line that soon crosses Brett and Anthony’s. It's just Gibson and not the criminals who pulls the trigger.
Brett has a daughter and a wife who has multiple sclerosis and uses a cane. I went back and watched Brawl last night, and plan to watch Bone again soon. But the long shot at the beginning was good and I giggled at him shooting the bag of chips at the very end. That flick was really good, like a mix of Goodfellas & Pulp Fiction on a smaller scale. When you purchase a ticket for an independently reviewed film through our site, we earn an affiliate commission. That line of dialogue sounds forced, hope it played better in the movie.
This includes a baby, whose sole function is to fool you into thinking that things won’t turn really ugly. I found it a lot less stressful.