The film is enjoyable for the most part. It loses steam anytime Gibson is not onscreen. If you don’t like Gibson, you can skip it.
Dragged Across Concrete feels like an epitaph on the career of Mel Gibson. He’s done good work for so many years, only to be busted down to making movies that make their debut off the big screen.
Outlaw King will not be considered an equal bookend to Braveheart’s first part of the story of the Scottish Rebellion, but it should not be considered a failure by Mackenzie. The history presented is debatable, but it’s close enough to warrant some nice scenes and a series of muddy battles.
As a fan of Russell, Walsh and Juliá, this film has plenty going for it beyond Hall. It’s debatable that people these days understand the gravitas of Gibson and Pfeiffer from this film alone. That’s okay though. The Oscar nominated cinematography by Hall is worth the price of admission, too. Most people don’t live on the beautiful California coast of the late 1980’s. It doesn’t get old from my seat here in the rains of November.
This is a great film, if you can stomach something as graphic as The Passion of the Christ. It’s done in an equally sacred manner, if you value life. To see lives so easily lost, you will be more heartened to find a man running all through the night, praying for the strength to save “just one more.”
Of the films, this is the one I enjoyed more than any, outside of Thunderdome. For a series that is such complete and all out high octane, they keep going down the same road over and over. Unlike George Romero’s zombie films, or Scorsese’s real crime repeats, the craft is getting more refined with each trip. And unlike Spielberg tinkering with E.T. or Lucas messing around with the original Star Wars movies, these films feel more organic, instead of messed with. It’s like a painting that grows in one’s esteem as it ages. Don’t be fooled, though. This painting is closer to Dogs Playing Poker than it is to The Last Supper.
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