COME TO DADDY [FrightFest 2019]

come daddy

COME TO DADDY / CERT: TBC / DIRECTOR: ANT TIMPSON / SCREENPLAY: TOBY HARVARD / STARRING: ELIJAH WOOD, STEPHEN MCHATTIE, MARTIN DONOVAN, MICHAEL SMILEY / RELEASE DATE: TBC

How much mileage can you get from Elijah ‘Frodo’ Wood gazing in torment at the middle distance with a daft haircut? Quite a lot as it happens, as long as you keep the plot just a little to the left of normal. Come to Daddy is the latest writing credit from The Greasy Strangler’s Toby Harvard. Based on an idea by director Ant Timpson (Housebound), it has a strange brand of humour that saves it from by-the-numbers sick’n’funny stupor.

Wood is the rather beautifully named Norbert. He’s come out of his hipster haven complete with his gold phone and chat of impressive industry contacts to meet his estranged father in an idyllic seashore home that looks a cross between an Ewok treetop village and a space ship. Nevertheless, the man who awaits him (Pontypool’s Stephen McHattie) is an unfortunately cantankerous sort whose recourse to booze sees him call junior a cunt and apparently consider offing the little squirt for the temerity of turning up.

The real fun of Come to Daddy is not the violence, which is pleasantly slapstick in all the right places. It’s not the dialogue, which twists in some beautifully ways. It’s not even Elijah Wood, though he can still access his haunted-little-boy look as well as show psychotic flickers we saw in Franck Khalfoun’s 2012 remake of Maniac. It’s the characters who bubble away beneath the surface and show the manners that make Wood seem so at odds with his father are nothing compared to the weirdness of non-La La Land. There are government officials who lack any form of filter, a belligerent best mate who won’t be getting any thank you cards from the British Tourism Industry and Martin Donovan (Big Little Lies) as a fiercely practical fly-by-night who gets his just deserts.

The film is at its best when director Ant Timpson exploits the ludicrousness of this situation and emphasises the characters’ pauses as they try to come up with vaguely sensible (and only vaguely sensible) plans. Zosia MacKenzie’s production design is inspired and the soundtrack gives us enough of Norbert’s ghosts to be getting on with while we truly get going. The film does drag a little after it’s been established the Hobbit will do what he needs to do to stay alive. That said, a final turn towards the roll-neck sweaters of sentimental poetry seems strangely apt precisely because the film is all over the place anyway. It’s a slight but fun romp that swaps gross-out in favour of titteringly-sadistic surrealism.

BEING JOHN MALKOVICH

Malkovich

FORMAT: BLU-RAY | CERT: 15 | DIRECTOR: SPIKE JONZE | SCREENPLAY: CHARLIE KAUFMAN | STARRING: JOHN CUSACK, JOHN MALKOVICH, CAMERON DIAZ, CATHERINE KEENER | RELEASE DATE: OUT NOW 

Ever wanted to be someone else?

This is the rhetorical question that has been immortalised in this hyper-surreal comedy classic, directed by Spike Jonze and written by Charlie Kaufman. Being John Malkovich, now in its 20th anniversary, has been given a lush new Blu-ray release.

Being John Malkovich focuses on unemployed street puppeteer Craig Schwarz (Cusack), who resorts to taking a job at a filing company in order to make ends meet. In between the tedious job and attempts to gain the attention of co-worker Maxine (Keener), Craig discovers a hidden door at work; behind that door is a route directly into the mind of actor John Malkovich (as played by Malkovich himself) for fifteen minutes before transporting the visitor onto the New Jersey Turnpike. Craig then shares his discovery with Maxine and his wife Lotte (Diaz), resulting in the situation getting even weirder (yes, really!).

The best surrealism is the type that comes across with complete normality; Being John Malkovich certainly falls into this criteria. Everything from Craig working on floor 7 ½ (with its lowered ceilings), via Dr. Lester (Bean), who thinks no one can understand what he is saying, and his assistant Floris who doesn’t understand what anyone is saying, to the ultimate philosophical question of what happens when Malkovich enters the door to his own mind, this film constantly keeps the audience engaged, encouraging us to “just go with it”. Yet it still conveys the jealousy and mystery in the relationships between characters and story brilliantly, largely because of its superb cast. In addition to them, also watch out for cameos from Charlie Sheen, Sean Penn, director David Fincher, and Academy Award-winner Octavia Spencer in an early role.

Film aside, this bumper Blu-Ray edition comes with lots of extras, including commentaries from Spike Jonze and fellow fan of the surreal, director Michel Gondry. There’s also interviews with Malkovich and Jonze, a feature on puppeteering, and the 7 ½ floor orienteering video in full. It’s good to see the movie given the celebration and recognition it deserves.

THE INCIDENT (1967)

incident

THE INCIDENT (1967) / CERT: 15 / DIRECTOR: LARRY PEERCE / SCREENPLAY: NICHOLAS E. BAEHR / STARRING: TONY MUSANTE, MARTIN SHEEN, BEAU BRIDGES, BROCK PETERS / RELEASE DATE: OUT NOW

Made over 50 years ago, The Incident remains an uncompromising and emotionally savage experience. As it begins, Joe and Artie are two completely amoral New York hoods out for alcohol-fuelled, criminal thrills in the dwindling late hours of a weekend. Mugging and beating unconscious a man on his way home, they decide to head to Times Square.

Meanwhile, as the film’s first half plays out, a disparate set of people are all making their journeys home, including gay man Kenneth, older Jewish couple Sam and Bertha, young soldiers Felix and Phillip, African-American couple Arnold and Joan and others who provide a cross-section of society in much the same way disaster movies of the next decade would. Eventually everyone ends up in the same train carriage. It’s here that Joe and Artie effectively hold them hostage for the purposes of tormenting and threatening the group for their own pleasure.

The film holds nothing back with the mean-spirited abuse of the passengers cruel and laced with hatred so that the tension and looming promise of explosive violence to come racks up throughout the second half with an unrelenting intensity. The Incident is a remarkable film that works as both a social commentary in microcosm of the issues of the time it was made and a wider examination of society that speaks to the world we live in now.

For this new release we have a crisp and sharp transfer that showcases the beautifully menacing cinematography of Gerald Hirschfeld and Larry Peerce’s dynamic direction, both working together to make the film vivid and immediate. There are two commentaries, the first a conversation between cinema historian Nick Redman and Peerce that goes into detail about the challenges involved in the making of the film and the intent behind it and this is complemented by a 30-min Q&A with Peerce from the 2017 Wisconsin Film Festival. Peerce remains rightfully proud of his achievement and both are worthwhile. The second commentary from writer Alexandra Heller-Nicholas is completely different, with the focus on the film’s perspective on violence, sexual politics and The Incident’s continuing relevance fascinating and necessary. A trailer for the film rounds out the disc’s extras and in addition to this also included is an accompanying booklet with writing on the film from Samm Deighan and Barry Forshaw along with a reprint of a ‘survival guide’ pamphlet that was circulated during New York’s crime epidemic.

There’s nothing cosy or nostalgic about The Incident and it will absolutely set you on edge. It is a vital, confrontational piece of work that really has something to say about the worst of who we are, supported by some compelling extras. Highly recommended.

THE CHANT OF JIMMIE BLACKSMITH (1978)

chant jimmie

THE CHANT OF JIMMIE BLACKSMITH (1978) / CERT: 18 / DIRECTOR & SCREENPLAY: FRED SCHEPISI / STARRING: TOMMY LEWIS, FREDDY REYNOLDS, ANGELA PUNCH MCGREGOR / RELEASE DATE: AUGUST 26TH

This powerful true story, based on the real life of Jimmy Governor, is an Australian classic, but hasn’t garnered the same attention in the UK. This could change with Eureka’s Blu-ray release, which is a great transfer of a fine movie, complete with some interesting extras to round off a decent package.

The film, based on the 1972 novel by Thomas Keneally, throws us straight into turn of the century Australia, introducing us to a young Jimmie, who is half Aboriginal, torn between his tribe and his guardian, the uptight but well-meaning Revered Neville. After getting drunk one too many times, the Reverend tells Jimmie he needs to keep on the straight and narrow in order to secure a job and make a future for himself. Knowing he has a slight advantage over the Aboriginal tribe he grew up with, due to being half white, Jimmie sets off to find his fortune. Unfortunately for him, his options are limited in such an oppressive society. After trying fence building, a brief stint as a constable and helping out at a farm, Jimmie is finally pushed over the edge after marrying a white woman carrying a baby that isn’t his. When his new employer refuses to give him enough provisions, his pride hurt for the last time, he takes bloody revenge on the employer’s family. Suddenly he finds himself on the run, from everyone from the army to the family in question. Soap fans may recognise Ray Meagher, best known for playing Alf in Home and Away, as one of the sons.

The Chant of Jimmie Blacksmith has a relentless pace to it. We are taken on a true journey with our protagonist – we feel his trials and tribulations as he takes slight knocks with a smile, replying “Yes boss!” with dignity each time, even though the insults and injustices are slowly wearing him down, the smile starting to crack until it becomes too much to bear. Brilliantly played by Tom Lewis, he tries to make the best life for himself, desperate to play by the rules of the white elite, but not being allowed to, due to the colour of his skin.

The Blu-ray release has a good interview with director Fred Schepisi and Tom Lewis, on the casting process and the difficulty of getting the film produced in the first place. It also features a Q&A at the Melbourne Film Festival with the director and Geoffrey Rush, but the strongest piece is the documentary Making us Blacksmiths, filmed in the 70s. It’s firstly interesting to see how much Fred Schepisi has changed in 30 years, but it also details the process of getting Tom Lewis and his co-star Freddy Reynolds ready for filming, as they had never acted before. It shows the importance of an acting coach and giving Tom and Freddy the confidence to get into character. There is no doubt that this paid dividends to both actors, who give varied and powerful performances in a film that details a misrepresented part of colonial Australia, in all its injustices and brutality that can still be felt to this day. Important stuff indeed.

FLIGHT OF THE NAVIGATOR

FLIGHT OF THE NAVIGATOR / CERT: PG / DIRECTOR: RANDAL KLEISER / SCREENPLAY: MICHAEL BURTON, MATT MacMANUS / STARRING: JOEY CRAMER, PAUL REUBENS, CLIFF DeYOUNG, VERONICA CARTWRIGHT. SARAH JESSICA PARKER / RELEASE DATE: 26TH AUGUST

Directed by Randal Kleiser (Grease, Big-Top Peewee), …Navigator follows the disappearance of twelve year old David Freeman. After falling into a ravine in the woods and losing consciousness, he wakes up to discover that things aren’t quite what they used to be. Making his way home, he finds that eight years have passed and he’s been missing for so long that the police have declared him legally dead. At the same time, in the same town, NASA are investigating a mysterious crashed UFO which, of course, is linked to David’s disappearance…

The first half of the film follows NASA’s efforts to establish the connection between the two cases. The story moves along at a decent pace, and it’s so genuinely riveting that you’ll be surprised to realise that it’s taken a full 45 minutes for David to come face to face with the ship and its occupant, Max (voiced by Paul “Pee Wee Herman” Rubens). When the two finally meet, the film goes full-on adventure mode, with David taking off in the ship and travelling across the US in an attempt to find his family.

David and Max are a really enjoyable pair (although, admittedly, David does come across a bit of a wimp at times), and following their escapades makes for some genuinely wonderful family-friendly sci-fi that kids will easily follow but still contains enough mystery to keep grown ups’ attention. Although it might be worth noting for any parents out there that this a bit more sweary than other Disney films – there are a few “shits” (the first time anyone said this in a Disney film, we’re told in the commentary track) and at least one “bastard”!

There are still a fair few grainy bits in this Blu-ray remaster, especially during night scenes, but the picture has mostly been sharpened up incredibly well. There’s plenty of detail that you couldn’t see in the DVD release, and the special effects hold up tremendously, considering the film is over 30 years old.

Previous releases have been fairly sparse on the extras front, with nothing but a director’s commentary (which is included here), but Second Sight’s limited edition contains a treasure trove of information and stories that haven’t been available before now. Behind the scenes photos and footage are spread throughout almost 90 minutes of interviews with the cast and crew, and there’s a stunning 100-page book containing additional photos, production notes and, best of all, the complete original storyboard.

It never seemed like …Navigator would be a candidate for such a release, but the fact that it’s now materialised – and has exceeded expectations – speaks volumes to the high regard in which the film is held. An absolute treat for existing fans, and by far the best way to introduce newcomers to the film, this is most certainly a re-release that’s well worth picking up.

BIG BAD WOLVES

Big Bad Wolves

BIG BAD WOLVES / CERT: 18 / DIRECTOR & SCREENPLAY: AHARON KESHALES, NAVOT PAPUSHADO / STARRING: LIOR ASHKENAZI, ROTEM KEINAN, TAZHI GRAD, DVIR BENEDEK / RELEASE DATE: AUGUST 19TH

First released back in 2013, Aharon Keshales and Navot Papushado’s Big Bad Wolves impressed so many with the way it handled an extremely serious topic in a way that’s dark and sinister, yet in a way that is also humourous and that asks questions of its audience. And now, the film is getting a new Blu-ray release.

In terms of plot, the focus of Big Bad Wolves is on a twisted child-killer who is tormenting Israel. First up, we’re introduced to hard-hitting, uncompromising cop Miki (Lior Ashkenazi) as he’s the one tasked with handling this case. Unfortunately for Miki, however, his approach is a little too heavy-handed and he’s suspended after his actions make a mockery of the claims against the case’s prime suspect. Still, determined to make meek and mild Dror (Rotem Keinan) confess, Miki decides to do whatever it takes to prove that Dror is indeed the one behind these vile and heinous acts. And then there’s Gidi (Tazhi Grad), the father of a girl who was tortured by the still-at-large killer. As this narrative plays out, the film poses the question of just who exactly the real victim in all of this is and we see plentiful different angles to the trauma and tragedy at the heart of the tale.

Without trying to sound like we’re leaning too much on hyperbole, Big Bad Wolves is one of the most gripping movies of the past decade. At times, this is an unrelenting, brutal, violent picture, yet there is more often than night a sprinkle of dark humour or a lighter moment waiting just around the corner. Regardless, you’re gripped to this one as soon as the film’s opening few moments play out.

In terms of scale and scope, Big Bad Wolves may well be minimalistic and extremely raw, but this is a movie that is extremely sophisticated in its visuals and in its narrative. Said narrative is constructed magnificently as it throws up questions about morality, justice and guilt – all of which are served up with large dollops of truly shuddering violence at times. The story, of course, is only further helped by a trio of stunning performances from its core cast of Lior Ashkenazi, Rotem Keinan and Tazhi Grad.

Back during its initial release, Big Bad Wolves flew a little under the radar of many genre fans. Now though, here’s hoping this new Blu-ray release can help this remarkable little feature find a wider audience. We said it back in 2013, and we’ll see it again now – if you get the chance to see Big Bad Wolves, eat it up.

Elsewhere on the release, the Last Night at the Empire featurette is a whole load of fun as the film gets taken to FrightFest. The other two featurettes are similarly engaging and entertaining, and then the movie’s theatrical trailer rounds out the Blu-ray.

Special Features: Last Night at the Empire: Big Bad Wolves at FrightFest / Making of Big Bad Wolves / AXS TV: A Look at Big Bad Wolves / Theatrical trailer

DON’T LOOK NOW – 4K

Don't Look Now

DON’T LOOK NOW / CERT: 15 / DIRECTOR: NICOLAS ROEG / SCREENPLAY: ALLAN SCOTT, CHRIS BRYANT / STARRING: JULIE CHRISTIE, DONALD SUTHERLAND, HILARY MASON, CLELIA MATANIA, MASSIMO SERATO / RELEASE DATE: OUT NOW

What really is there left to say about Don’t Look Now? Nicolas Roeg’s Julie Christie and Donald Sutherland-headlined offering is viewed as one of the most poignant and visually stunning movies to have ever graced the horror genre. Within the first five or six minutes of the film, instantly the audience is left with its jaw agape as a couple’s young daughter tragically drowns. It’s jarring, it’s hard-hitting, and it’s a moment full of sheer and utter dread. From there, the story begins to examine the grief and torment suffered by Christie and Sutherland’s married couple – both of whom who handle the loss of their daughter in vastly different ways.

Of course, we soon see the pairing embark on a Venice-set roller coaster ride that ends with one of the most shocking, gut-punching finales in the history of the genre. What makes this tale even more effective is just how beautiful the film itself looks throughout all of its twists and turns; Roeg giving a gorgeous aesthetic to each and every frame of a movie that is still a visual delight to this day.

You’re likely well aware of the plot of Don’t Look Now and the picture’s plus points and negative points, mind, but what makes this new release of a 46-year-old film worthwhile – in addition to the all-time classic movie – is the fantastic amount of special features included in the release. Well, that and the 4K gloss put on the 1973 picture.

Bonus-wise, there are several archive interviews that have been seen before, but it’s the Taking a Look Back featurette that steals the show. And for those who have forked out the £30 retail price for this release, the inclusion of Pino Donaggio’s soundtrack is a marvellous addition. Then there’s the collectors’ booklet, artcards and a copy of the film’s theatrical poster that round-out a brilliant package.

It’s often hard to justify buying yet another new release of a film that’s already been out for decades, yet there is certainly enough here in this 4K offering to entice fans of Don’t Look Now to part with their pennies.

Is this new release an essential purchase? Of course not. But if you’re looking to see one of the best looking movies of all-time in its crispest, cleanest form, the 4K transfer alone makes this a potential must-have for fans.

Special Features: Pass the Warning: Taking a Look Back at Nic Roeg’s Masterpiece / A Kaleidoscope of Meaning: Colour in Don’t Look Now / Audio commentary with Nic Roeg / Don’t Look Now: Looking Back / Five interviews / Gallery / Artcards / Theatrical poster / CD soundtrack / Booklet

ROBOT PLANET

robot planet

ROBOT PLANET / CERT: E / DIRECTOR & SCREENPLAY: PHILIP GARDINER / STARRING: DICKSON GREY, RAZOR KEEVES / RELEASE DATE: OUT NOW

Robot Planet isn’t a sci-fi invasion flick, but instead a documentary looking at the rise of the automaton in the world. There’s a focus on how things can go wrong with this advance in technology, be it with the replacement of human labour or AI being used to fight wars.

The truth, it seems, can be more fantastical than fiction as we learn about nano-robots, tiny DNA-created cells that can be used to repair problems in bodies. As the research continues, who knows where scientists will go with this. This may be a non-fiction film, but there’s enough ideas here for screenwriters to work on for years.

Perhaps more terrifying than any horror film, being told that there are people working on a self-learning AI that could very well decide that the human race is a threat to the planet (now where would they get that idea?) and wipe us out. The late Stephen Hawking had already voiced concern on developing such AI as it would soon advance itself far greater than human regular evolution.

Even without getting to the fear of robots taking over the world and wiping us out, there’s the fact that we’re being replaced by them on an almost daily basis as automated systems take over in the workplace. It’s not something that will leave you feeling cheery, that’s for sure.

It’s not all sinister, though, as the history of the term and development from clockwork and magnetic Victorian fancies progressed to the mechanical marvels we know today. There’s also a section on the rise of Hitler and how he used similar psychological traits to rise to power. Something that’s very relevant with our current political climate.

Although the visuals match the narration, it often feels as though it is library footage. There are some mesmerising moments though in a Koyaanisqatsi style. The serious, lifeless delivery of the narration takes some getting used to, but the information – which is the whole point of the documentary – is fascinating and will startle and maybe even disturb. Well worth a watch if you’re a conspiracy theorist.

SUMMER HOLIDAY (1963)

SUMMER HOLIDAY (1963) / CERT: U / DIRECTOR: PETER YATES / SCREENPLAY: PETER MYERS, RONALD CASS / STARRING: CLIFF RICHARD, LAURI PETERS, MELVYN HAYES / RELEASE DATE: 26TH AUGUST

Summer Holiday stars elderly-ladies-favourite Cliff Richard (AKA the Peter Pan of Pop / the English Elvis) as Don, a London bus mechanic who, along with his workmates, converts a double decker into a hotel on wheels, intending to drive it across France during their summer break. As you can imagine, things don’t quite go to plan, as they find themselves in some mildly amusing predicaments involving a very tame car crash, a three-piece girl group, a mime artiste, and a twenty-something female stowaway masquerading as a fourteen year old boy…

Being a musical, characters have a habit of breaking into song and / or dance every few minutes, so there’s a whole lot of shaking going on, along with plenty of kicking, shimmying and gyrating. It’s all very wholesome Sunday afternoon type stuff, and it’s exactly the sort of thing you’d expect to see Cliff taking part in. Summer Holiday was filmed during one of his more likeable / less po-faced phases, and the rest of the cast are equally affable. You feel like you’d be quite happy to accompany them on their journey, which makes the 104 minutes fly by in no time at all.

This brand new restoration looks as good as an almost 50 year old film could do, apart from a couple of split second blurry spots that suddenly click back into HD. Music is often much louder than the dialogue, so you might want to keep your finger somewhere near the volume button.

There’s a fair bit to see over in the extras menu. One brief clip from British Pathe’s archives shows Cliff at bus driving school (where we’re told he “was soon at home on the skid pan”), and another features footage from Summer Holiday‘s chaotic London premiere. Police link arms to hold back throngs of screaming fans, someone’s shoe falls off, a hysterical woman is wheeled into an ambulance, and we’re shown a lady lying on the floor before the plummy voiceover tells us “don’t be alarmed, she’s only fainted.” It’s a shame that the clip is less than two minutes long – we could definitely have taken much more of this.

There’s also a nine-minute interview with music author Bob Stanley, a stills gallery, and a set of four postcards. Of particular interest is the inclusion of Rhythm ‘N’ Greens, a rare half-hour short starring The Shadows which has previously only been released by the band’s fan club back in the 60s. Its bizarre premise tells the history of mankind via a radio show that plays out over Monkees-style sketches, and is well worth a look. The glee on Hank Marvin’s face as he twangs away at a rubber skeleton’s rib cage while dressed as a caveman is an absolute joy to witness!

DRAGGED ACROSS CONCRETE

dragged

DRAGGED ACROSS CONCRETE / CERT: 18 / DIRECTOR & SCREENPLAY: S. CRAIG ZAHLER / STARRING: MEL GIBSON, VINCE VAUGHN, TORY KITTLES, MICHAEL JAI WHITE, JENNIFER CARPENTER / RELEASE DATE: AUGUST 19TH

With his first two movies – brutal Western Bone Tomahawk and prison drama Brawl in Cell Block 99 – director S. Craig Zahler has established himself as one of the most distinctive (and violent) new voices in American cinema. Dragged Across Concrete is set to further enhance that reputation. A slow, sprawling crime drama punctuated by Zahler’s trademark ultraviolence; it’s a slow-burn, but one that more than rewards your patience.

The film follows two cops, Ridgeman (Mel Gibson) and Lurasetti (Vince Vaughn), who, after being filmed getting heavy-handed with a suspect, find themselves suspended without pay. To make up for their sudden loss of income, not to mention the modest life they can give their loved ones on a cop’s salary, the aging Ridgeman convinces his reluctant partner to join him in heisting money off criminals.

Elsewhere, recently released con Henry Johns (Tory Kittles) takes on a dangerous job in order to support his drug addict mother and disabled brother; a new mother (Dexter’s Jennifer Carpenter) reluctantly returns to work, and a gang of extremely violent, masked criminals go about their business with ruthless efficiency. Slowly, the lives of these disparate group of characters come to intersect, with deadly results.

Just as Zahler’s previous movies were radically different takes on Western and prison movies, here he gleefully subverts the conventions of the cop buddy movie. Wisecracks are kept to a minimum, the violence is painfully realistic, and the motivations of the pair are dubious at best. Featuring both Gibson – one half of the greatest duo in cop movies – and Don Johnson as their lieutenant only further reinforces the point that this is about as far from your conventional cop movie as it’s possible to get.

Casting Gibson is somewhat of a masterstroke. Besides the stark contrast between Ridgeman and Martin Riggs, the actor’s – let’s say ‘colourful’ – off-screen persona brings with it a wealth of baggage it’s impossible to shake, adding a murkier dimension to an already less-than-honourable character. It’s the best Gibson’s been since returning from exile, with his world-weariness and knowledge that his advancing years – well aware that he’s getting too old for this shit – means he’s running out of time to give his family (including an under-used Laurie Holden) the life they deserve adding a touch of pathos to what could be an otherwise unsympathetic character.

As for Vaughn, he follows his serious turns in the likes of Brawl in Cell Block 99 and True Detective with another impressive performance here. He’s arguably a better straight actor than a comedic one, and he capably holds his own against Gibson, with the two of them sharing a genuine chemistry.

Elsewhere, it’s always good to see Carpenter on the big screen, albeit in a restricted role – somewhat of a theme with the female characters – and Spawn fans will get a kick out of a lively turn from Michael Jai White (although considering some of the things that happen to him, perhaps not).

With its languid pace, unsavoury characters, and occasional bursts of graphic violence, Dragged Across Concrete is not for everyone. As a character study into the effects of violence of individuals and those around them, it’s compelling viewing, and confirms Zahler’s position as an exciting voice in American cinema.