Brawl in Cell Block 99

A unique film without compromises which I don’t know what other movie I can compare it with in terms of atmosphere, impression or feeling – something that doesn’t happen very often in modern filmmaking. The main character looks like a “Trumpist redneck”, but the joke here is that if you are expecting him to behave based on the prejudice about his appearance, he will surprise you with how much more there is to him. The second joke is that you will still get some violence delivered by, but to such extent and so weirdly executed that it has an almost transcendental effect. It basically doesn’t look like a film. The whole movie has a fairly ugly cinematography (digital colours, unpleasant and unusual angles), the fighting scenes are almost uncut and frequently shot in unnaturally large set pieces, and the gore also looks differently than in other films. Like, I’ve never seen a tramped skull, but the fact that here it looks different than in a million other films gave me impression that I’m maybe seeing it for the first time ever. Rather than a film, Brawl in Cell Block 99 reminded me of a very realistic dream that gradually turns into a nightmare into which you plunge deeper and deeper. In any case, one of the films of the year. (14/10/2017)

Brawl in Cell Block 99 offers up a new definition of brutality in the field of cinema that affects and changes pop culture trends. It is an alternative form of superhero worlds with a guy who became an alpha avenger against his will, escalating with increasing violence and progressing into an almost surrealist depiction of contemporary prison environments. There is still some sense of social apathy (I refer to Bone Tomahawk), but this time there is a good intention behind all that straightforward brutality. An intention to protect. It’s like the darkest side of the poetic Drive but ten times more intense; two hours of rushing headlong into the deepest pits of hell. Vince Vaughn stars in the role of his life, for which he should be damn grateful to the director Zahler. But it is too minimalist to get an Oscar. Don Johnson might get a nomination for savoring a delicious comeback in his role of a sadistic warden, though. The climax put me into the same euphoric state of watching Pulp Fiction for the first time. Brawl is the film of the year, at least for all Tarantino lovers and fans of original visions of the underworld and crime. [Sitges FF] (11/10/2017)

Arty grind-house that crushes skulls with its slow pace and human cruiser Vince Vaughn. Extremely precisely constructed tension and the director's brilliantly managed jump from a realistic introduction to a consistently B-movie finale in the environment of a cellar hell for invited psychopaths. Feat. Great cameos for frog eyes Udo Kier and the verbal frost of Frank Melamed. This is a portrait of a world that knows no mercy, with razor contours. Bradley Thomas is the hardest and coldest fucking bastard on the suffering market. North of OK, south of cancer. In my ideal world, people like S. Craig Zahler would win directing awards at big festivals. Because, for God's sake, this is an INNOVATIVE kick in the nuts, a director’s masterclass, whilst also being a genre film that had me invested since the first second. (13/11/2017)

Fucking awesome!! S. Craig Zahler didn't impress me much with his debut Bone Tomahawk, he did revive the dead western genre into horror with two solid gore scenes, but boredom was inevitable for me. His second effort, however, is thankfully different stuff! It stars Vince Vaughn, an actor mostly known as a B-movie comedian, but here he is transformed into an uncompromising badass that no one can beat both physically and mentally, and he delivers his strongest and best acting performance of his career! The first quarter of the film is rather tepid, but upon entering the prison, a very macho and tough guy ride begins, where the authenticity and realness literally gives you chills. For me, Red Leaf was quite possibly the toughest prison I've ever seen on film and the head warden played the heartless and unpleasant asshole with absolute grace. The very rough Zahler shoots the fights without a single cut and there is no shortage of broken arms, legs, spines and crushed skulls!!! The gore is shot very differently than in other films, so the question is who comes closer to reality? A very uncompromising, vicious, bleak, cold, intelligently written and brilliantly directed prison flick, the kind we haven’t seen for the last 20 years. It will definitely be fighting for the top spot this year. 95% (16/10/2017)

A huge surprise for me personally. The director S. Craig Zahler has already proven to me with the movie Bone Tomahawk this year that he has some potential, but I really had no idea that Vince Vaughn would convince me after his bad performance in True Detective. A very decent revenge film, which takes place in numerous locations, but even though we see the prison most of the time, you can’t say it is a prison drama. On the contrary. Imagine a simple PC game with a clear target in the beginning and you go through the first, second, third, fourth level… to finally get to the final boss. This film is that simple. Simple, but harsh, uncompromising and mainly the quality is really good. You will realize that in the fighting scenes. And you will also realize that Vince has a gift which he has never shown in all of his comedies so far. Why? That’s a good question. Now I hope that he will have a chance to film better and more interesting films than those he’s done so far. (21/12/2017)