Mel gibson and vince vaughn

‘Dragged Across Concrete’ Trailer: Mel Gibson and Vince Vaughn Team Up

mel gibson and vince vaughn

I have been watching closely the career of writer-director S. Craig Zahler, who tackles different genres with a style and ferocity not often seen.

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By Pete Hammond. I have been watching closely the career of writer-director S. Craig Zahler, who tackles different genres with a style and ferocity not often seen these days. Now he takes on the crime format with a fervor that few filmmakers seem willing to try anymore. Zahler also takes risks in these action formats by putting the brakes on the obligatory relentlessly paced playbook most of them follow, focusing instead on character relationships and development while taking his time to put all the pieces of his story together.

Craig Zahler.
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Sign in. The two-time Golden Globe nominee David Oyelowo has an awards-worthy list of must-see shows. See if you're caught up on his picks. Watch now. Title: Dragged Across Concrete In the dying days of the old west, an elderly sheriff and his posse set out to rescue their town's doctor from cannibalistic cave dwellers.

A ll that S Craig Zahler does, he does methodically and deliberately. The director exercises surgically precise control over each minute in the nearly three-hour run time of his latest feature, Dragged Across Concrete. He crafts dialogue with the florid, evocative quality endemic to writers who get their start on pulp literature, wielding similes like brass knuckles. His supreme confidence also extends to his pacing, which both is and is not leisurely; he likes to let his moments breathe and unfold, albeit for the purpose of amplifying the agony in what are already excruciatingly intense scenes. If Zahler was some no-talent hack, it would be easy to dismiss the moral grotesquerie on display in Dragged Across Concrete as a feral howl from the fringes. His yen for ambiguity has qualified him for greater plaudits, and with them, a more stringent appraisal. Tilt your head a little to the left, and the vision of Zahler as stealth fascist starts to come into focus.

Lurid titles like that have become a bit of a signature for B-movie maestro S. Craig Zahler. Speaking of ugly characters, the film stars Mel Gibson as Brett Ridgeman, a cynical, racist cop in a fictional urban hell hole called Bulwark who, along with his partner Anthony Lurasetti Vince Vaughn , gets in trouble for roughing up a Latino drug dealer and his girlfriend while making an arrest. The two cops are quickly suspended by their boss Don Johnson, brief but excellent. Ridgeman sees it as another capitulation to the woke, PC societal forces that have turned old-school cops like him into dinosaurs with badges. Meanwhile, an African-American ex-con Tory Kittles has just returned home from prison only to discover his junkie mother turning tricks to make ends meet.

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