Lawless

Brainless, plotless, gutless. A flat gangster film for beginners, which is the same as counterfeit whiskey, has all the necessary ingredients, but its taste lacks any of the sophistication of the original. If some people are satisfied with Hardy with a single grimace, Pearce acting on the verge of tolerability and LaBeouf the same as always, then by all means. I expect more from a prohibition gangster film than the familiar sentimental macho poses... (03/07/2012)

A slice of family history that only works in its two hours of runtime when it scores points with good actors and brutal violence, but also forgets the characters. Hardy just grunts and LaBeouf builds an empire out of nothing; it’s got the same feelings as Proposition, copying from everywhere, but with a beautiful signature. (26/09/2012)

Three and a half stars. If the script had cared as much about the third (and equally interesting) brother as it did about Jack and Forrest, if Gary Oldman had been given more space, and if the incredibly slimy Guy Pearce hadn't been a simple comic-book caricature but rather a believable villain, it would have been even better. But the atmosphere is very pleasant and, thanks to the music, I am rounding up. (17/02/2013)

Do you love Prohibition? Okay, then. Are you ready for some real bloody carnage? Okay, then. Are you interested in something more than just a bloody slaughter? Then you're in the wrong place. Of course, for those interested in a more comprehensive look at Prohibition, I recommend the series Boardwalk Empire. (09/02/2017)

A lovable comic book movie that isn't based on a comic book. Wondering why it's a comic book movie? No? Let me tell you. For example, aside from the utterly Bond-esque mega-overacting of the über-villain Guy Pearce, the setting of the scenes (when Mia Wasikowska is there, the sun and gentle breeze caresses her face, while conversely all the Bondurant ranch scenes are shrouded in grey or snow, stroking Hardy's boxer all over the places on his body where it hurts), and the overall explicitness, it's especially the framing, which almost eliminates informative shots, for example. The dialogue sequences, too, virtually nowhere stoop to a shot/countershot scheme, and for the conflict sequences, these are dominated by framing containing both the attacker and his victim in the same frame. The stylized characters and their perfect casting keeps the attention even of those who might not give a shit about the fantastic detail and period fidelity of each film location, the legendary sound, the tame script with which Cave ungracefully buries the otherwise perfect Proposition, and the spectacular direction in the action scenes. After that, you don't even mind the severely mismanaged finale, where no one really knows what to do and they don't quite figure out how to hide it. (27/09/2012)