Greetings again from the darkness. Searching back through more than a decade of film reviews, I can confirm that the phrase "slapstick shootout" has not previously been part of my movie lexicon
which is a relief since it could never be more accurately placed than in description of this latest from the husband and wife filmmaking team of director Ben Wheatley and writer Amy Jump (prior works include High-Rise, Kill List and a few others). The zingers are plentiful – both in bullets and dialogue. It's unlikely you've ever laughed as much during such a violent/gory/graphic assault on the senses (especially auditory).
Set in 1978 Boston, which allows for added humor via music, attire, hairstyles and vehicles, the basic premise is a meet-up for the deal between an IRA faction and a gun-dealer, with the brokers and "muscle" of each side along for the ride. When cases of AR70's are presented instead of the ordered M16's, the deal gets a bit shaky until cooler heads prevail. That is until one of the gun-runners recognizes an IRA guy as the one who disrespected his 17 year old cousin the night before. It's at this point that the film cranks to a frenzy that would make the Mayhem commercial guy proud. It's the visual definition of a cluster.
A stand-off and shootout occurs (with side deals and betrayals) over the next hour and yet the early comical dialogue somehow becomes next level great despite bullets whizzing through a terrific setting in an abandoned umbrella warehouse. Unlike in some movies, these bullets inflict pain (and the subsequent cries and wails). The characters continue to banter and threaten one another, all while dragging their lead-induced injuries across the dusty floor between various forms of protective shields strewn about the warehouse.
Normally I would concentrate on the major characters, but most everyone involved in the deal-gone-bad has at least a couple of memorable lines and moments. The gun-runners are led by Sharlto Copley as Vernon, a cocky, mouthy South African whose dialect sounds an awful like New Zealander Murray in the classic TV gem "Flight of the Conchords". In a movie that seems impossible to steal, Copley comes the closest and his Vernon would make a perfect Halloween costume and annoying party guest. His cohorts are Marion (Babou Cesay), Gordan (Noah Taylor, Max 2002) and Jack Reynor (Sing Street, 2016). The IRA group is led by uptight Chris (Cillian Murphy), Stevo (a hilarious Sam Riley, Mr Darcy in Pride and Prejudice and Zombies), Frank (Michael Smiley) and Bernie (Enzo Cilenti). The two deal brokers are the ultra-debonair Ord (Armie Hammer) and the lone female Justine (Brie Larson). It's a terrific cast having a ridiculously good time with a creative and rollicking script.
Know going in that the film is a very hard R-rating for violence, drug use (in the middle of the shootout), and a bounty of flowing F-words. It's neither for the faint of heart nor those who take their standoffs too seriously. Director Wheatley employs a vast array of unusual camera angles to ensure the action never looks boring, and his use of secondary and tertiary sound (especially with dialogue) is expert and dizzying at times. Don't expect too many layers or sub-plots. It's simply a shoot 'em up romp capitalizing on black comedy to the nth degree. John Denver might not have approved of the use of his song, and just remember, "We can't all be nice girls".
Set in 1978 Boston, which allows for added humor via music, attire, hairstyles and vehicles, the basic premise is a meet-up for the deal between an IRA faction and a gun-dealer, with the brokers and "muscle" of each side along for the ride. When cases of AR70's are presented instead of the ordered M16's, the deal gets a bit shaky until cooler heads prevail. That is until one of the gun-runners recognizes an IRA guy as the one who disrespected his 17 year old cousin the night before. It's at this point that the film cranks to a frenzy that would make the Mayhem commercial guy proud. It's the visual definition of a cluster.
A stand-off and shootout occurs (with side deals and betrayals) over the next hour and yet the early comical dialogue somehow becomes next level great despite bullets whizzing through a terrific setting in an abandoned umbrella warehouse. Unlike in some movies, these bullets inflict pain (and the subsequent cries and wails). The characters continue to banter and threaten one another, all while dragging their lead-induced injuries across the dusty floor between various forms of protective shields strewn about the warehouse.
Normally I would concentrate on the major characters, but most everyone involved in the deal-gone-bad has at least a couple of memorable lines and moments. The gun-runners are led by Sharlto Copley as Vernon, a cocky, mouthy South African whose dialect sounds an awful like New Zealander Murray in the classic TV gem "Flight of the Conchords". In a movie that seems impossible to steal, Copley comes the closest and his Vernon would make a perfect Halloween costume and annoying party guest. His cohorts are Marion (Babou Cesay), Gordan (Noah Taylor, Max 2002) and Jack Reynor (Sing Street, 2016). The IRA group is led by uptight Chris (Cillian Murphy), Stevo (a hilarious Sam Riley, Mr Darcy in Pride and Prejudice and Zombies), Frank (Michael Smiley) and Bernie (Enzo Cilenti). The two deal brokers are the ultra-debonair Ord (Armie Hammer) and the lone female Justine (Brie Larson). It's a terrific cast having a ridiculously good time with a creative and rollicking script.
Know going in that the film is a very hard R-rating for violence, drug use (in the middle of the shootout), and a bounty of flowing F-words. It's neither for the faint of heart nor those who take their standoffs too seriously. Director Wheatley employs a vast array of unusual camera angles to ensure the action never looks boring, and his use of secondary and tertiary sound (especially with dialogue) is expert and dizzying at times. Don't expect too many layers or sub-plots. It's simply a shoot 'em up romp capitalizing on black comedy to the nth degree. John Denver might not have approved of the use of his song, and just remember, "We can't all be nice girls".