Confronto no Pavilhão 99

Perfeitamente dirigido, filmado, narrado e escrito, é uma explosão que constrói cuidadosamente gradações, tensão, atmosfera e personagens, sem esquecer as doses homeopáticas de humor negro, seguidas de um chocante banho de gelo e de um belo pontapé na barriga. Um drama civil original, inventivo e denso que evolui gradualmente para vários tipos de thriller, e que combina perfeitamente uma sensibilidade íntima com uma brutalidade crua. E também uma atuação histórica de Vince Vaughn, que se transformou de um herói das comédias românticas num aríete humano em luta. Uma versão prisional intransigente do Inferno de Dante, obrigatória para todas as pessoas capazes de lidar com fraturas abertas e crânios quebrados. (03/12/2017)

Uma nova definição de crueza no campo do cinema que influencia e muda as tendências da cultura pop. Uma conceção alternativa de mundos super-heróis com um vingador alfa contra a sua vontade, formando-se com violência crescente enquanto progride para a representação quase surrealista dos ambientes prisionais contemporâneos. O entorpecimento social ainda pode ser sentido (no case de A Desaparecida, o Aleijado e os Trogloditas), mas desta vez por detrás da brutalidade direta há boas intenções. Protetoras. Como o lado mais escuro de Drive: Risco Duplo poético, multiplicado por dez e duas horas conduzindo ao inferno cada vez mais profundo. O papel de vida de Vaughn, pelo qual ele deveria agradecer muito a Zahler. Mas minimalista, não será suficiente para Oscar. Neste caso é mais provável a nomeação para o ressuscitado, gourmet-exibidor Don Johnson. O final evocou em mim a mesma euforia do incognoscível que a Pulp Fiction fez uma vez. Para os fãs de Tarantino e devotos de visões originais do submundo e do crime, pelo menos é o filme do ano. [Sitges FF] (11/10/2017)

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)

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)

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)