FILMS THAT GOT AWAY #8 – DRAGGED ACROSS CONCRETE (2018)
Written and directed by: S. Craig Zahler
Produced by: Sefton Fincham, Jack Heller, Tyler Jackson, Keith Kjarval, Dallas Sonnier
Cast: Vince Vaughn, Mel Gibson, Tory Kittles, Michael Jai White, Jennifer Carpenter, Laurie Holden, Don Johnson, Thomas Kretschmann etc.
Cinematography: Benji Bakshi
*** MAY CONTAIN SPOILERS ***
As a major fan of S. Craig Zahler’s first two film releases, namely Bone Tomahawk (2015) and Brawl in Cell Block 99 (2017), I was really looking forward to another example of pulpy, slow burn and hard-bitten genre filmmaking with Dragged Across Concrete (2018). Thus, I was very upset when I found out the Mel Gibson and Vince Vaughn starring cop drama was not released in UK cinemas. I finally caught up with it on Amazon Prime and, while it was probably too long, it was a hypnotically powerful crime thriller.
Set in the city of Bulwark, the film opens with a lengthy preamble which introduces disparate characters whose paths are destined to cross later in the film. These include recent parolee, Henry Johns (Tory Kittles), grizzled-long-in-the-tooth-cop, Brett Ridgeman (Mel Gibson) and his younger, but equally cynical partner, Anthony Lusaretti (Vince Vaughn). Later, Zahler throws professional criminal, Lorentz Vogelmann (Thomas Kretschmann), and his dressed-in-black crew into the dark city soup. After a glacial set-up, the plot kicks in when Ridgeman and Lusaretti are suspended for what is perceived as a racially motivated attack on a suspect. Desiring a way out of the neo-noir and industrial decay, Ridgeman sets up a plan to steal from Vogelmann’s gang. Safe to say that given this is a Zahler film, we do not end up with a soft toy and candy apple ending.
Throwing a succession of anti-heroes at the audience and a litany of cursing and politically incorrect language makes Dragged Across Concrete (2018) a morally questionable film to experience. Do not watch if you are easily offended. Nonetheless, my feeling is Zahler, like Tarantino, is reflecting the world as it is rather than how it should be. Humanity is in the gutter and the only way out of it, in his mind, is to swear and fight and steal and kill. That isn’t to say that the characters are not empathetic. As Zahler’s hard-boiled dialogue is very poetic in places it draws you to them in a way Raymond Chandler used to do. Similarly, the performances from Gibson and Vaughn are brilliant. The scenes where they just sit in the car and eat sandwiches while staking out their quarry, are both hilarious and absorbing. Ultimately, it’s the lengthy second half robbery and final act ultra-violence which makes the film a pulsating and brutally rewarding experience.