Na Sombra da Lei

Uma análise processual duma intervenção (não)policial com uma longa exposição e um clímax imprevisível. Uma alternativa negra e sombria à amada Arma Mortífera dominante, em que o Tenente Martin Riggs finalmente vira as costas ao sistema e ao politicamente correto, e de modo de dirtyharry aponta para uma versão totalmente melhorada dos niilistas f*didos de O Grande Lebowski. Pois, pelo tempo largo que o filme durar, não se faz muito nele. Cortaria os seus acontecimentos para as duas primeiras horas, e depois, na última meia hora, apenas libertaria o inferno absoluto que falta. Inferno com um vilão mais elaborado de Thomas Kretschmann. Zahler mimou-nos simplesmente com o Confronto no Pavilhão 99, mais sofisticado e maravilhosamente perfeito. Ainda assim, Na Sombra da Lei continua a ser um prazer muito fixe que entretém com a sua alteridade e lhe dá arrepios. E na qual Zahler finaliza a obra-prima anterior, por exemplo, com a personagem de Jennifer Carpenter, que aqui beija os pés do seu filho. P.S.: Eu mostraria toda a cena no banco. [Sitges FF] (10/10/2018)

For me, S. Craig Zahler has become something a newly emerged American filmmaker, whose every next film in an incredible experience. This is the third time I meet with his craft, and it is once again the case. The precise dialogues might be not as filled with pop-cultural references as those in Tarantino’s movies, but they are wonderfully on point. Add in the brutality that doesn’t pull any punches. At the same time, it makes you wonder how far a film can go and not to cross the line. Here there’s at least one scene that crosses it, and I think the director likes to include something like this in his every movie. Moreover, it is interesting that he makes his movies based on his own script and uses his own music as accompaniment; he might be something of a genius. Moreover, the movie features the perfect duo of Gibson and Vaugh, who look like a throwback to the 1990s. Simply fantastic, what can I say. Had ti been a bit shorter, I’d have given it five stars. I understand that the director made some scenes longer on purpose for the atmosphere, but sometimes it was too much. Anyhow, it remains a decent action movie, one of the most distinctive ones in the recent years. (13/08/2019)

Two cops are suspended for six weeks. They need money and are angry, so they decide to rob a gang that is planning a big heist, but things go a bit wrong. S. Craig Zahler is still as uncompromising, surprising and unpleasant with his third film. And even though we already know what to expect from his stories, this time he manages to shock and unsettle and is as cruel to his audience as he is to his heroes. Fans of the director will not be disappointed by his new film, because this is exactly what we wanted to see from him. (24/03/2019)

Who is on the wrong side of S. Craig Zahler's new film? The whole world, as usual. A slow-burning heist / police story / buddy romance without emotion, Shotgun Safari in slow motion. Emotionally, it is the Coen Brothers meet Lethal Weapon in an alternative reality, where cruelty knows no bounds and fate is hungry for the blood of innocents. Zahler is one of the few filmmakers who can claim the title of original and visionary. The previous Brawl in Cell Block 99 was somewhat more of a compelling, radical, immersive monster, but watching Mel Gibson for two and a half hours in one of his best roles amounts to great satisfaction. Plus, I value another Sy Ableman feat. Fred Melamed with Jewish gold. (26/03/2019)

“We have the skills and the right to acquire proper compensation." It is typical for Zahler that overarching plot is simplistic and the story in terms of “who, what, why, how" is clear from the very first moment. Basically, according to all principles, the story line should not be enough for more than a two-and-a-half-hour film. But it is. And the reason for that is unusually strong dialogs, characters and performance and gradation of individual situations. This is also reflected in his “author´s" directing. The scenes, as he shows them, would barely last a few seconds in movies of other´s directors or ended up on the floor of the cutting room. But in his movie these scenes are highlighted. He let them slowly flow in a non-film and statical way for long minutes “where nothing seems to be happening and where there might not be any reason for them". But there is. Subliminal tension, characters and actors who have the space to perform minimalist performances benefit greatly from this. So, it's still true that the length and slow pace are justified (except for the unnecessary anabasis around the character of Jennifer Carpenter) and that it's so unique that it's not for everyone. This time it applies even more, because inevitably many will confuse it with the film's message / opinion of the film maker and not of the characters, due to the real right-wing racist main characters of the “white angry middle-class men". But we can only blame time we live in. And we must admit that this time Zahler uses the “troll" level quite deliberately and damn skillfully (about 70%). Fortunately, however, this does not overshadow the fact that this honest and harsh criminal movie from an older than old school is mainly and above all based on the characters an (100%). (24/03/2019)

S. Craig Zahler one of the most interesting and distinctive directors of recent years. After the western Bone Tomahawk and the brutal prison thriller Brawl in Cell Block 99, he brings us a solid raw crime film starring Mel Gibson and Vince Vaughn. Although it’s mostly dialogue and takes place mostly in a car, it almost doesn't matter, because watching two excellent actors critique the social situation in America and hilariously stick it to us is a blast. The highlights are definitely the uncompromising bank robbery and the final shootout, which takes pulls no punches. Uncompromising, violent, surprising and actually unpleasant, that's Zahler. Some may be bothered by the 160-minute running time, but surprisingly the film passes quickly. 80% (26/03/2019)

Zahler chose a more accessible style, but that doesn't mean it's predictable or less brutal. He presents very contemporary topics in this movie, which moralizes about two cops whom the system has driven to the edge of the law. Gibson has a successful comeback in terms of acting and Vaughn is great as his partner. And he has to be. A considerable portion of the picture involves them sitting in a car and chatting. There isn’t much action, but when there is, it’s realistic and brutal in typical Zahler fashion. The fate of the supporting characters is often shocking. The film's slow pace makes sense. (25/03/2019)

A noir version of Lethal Weapon, a film with a complex script and many characters, yet intelligible, dark, cynical and cruel. From a director who is not afraid to go beyond the edge of standards and in a sense does absolutely what he wants, creating a new subgenre – a dark alternative to Tarantino's films, where the dialogue passages are also often ridiculously over the top. A film from a different era with distinctive qualities, yet perhaps too long. (13/04/2019)

S. Craig Zahler has the audience, as well as his characters, absolutely in the palm of his hand from the beginning and does absolutely whatever he wants with them. While the characters have no choice but to struggle, we have no choice but to watch because it's that great. Grim atmosphere, unexpected situations, impeccable actors led by Mel Gibson in his best role since Signs... As far as violence goes, it's not quite as murderous as Brawl in Cell Block 99, but the tension and pervasive bleakness make up for it all. However Zahler does it, he's once again written and directed one of those films that people call unforgettable. (26/01/2020)

Dragged Across Concrete is another good film by Zahler that may lack the shocking scope of his previous gem and some scenes look as if the talented filmmaker was trying too hard to improve and rip himself off, but patient viewers will not regret the time spent in the company of this mesmeric director’s vision. Pushing your expectations to heavenly heights would be a mistake, but it would be even worse to overlook this old-school and yet original and distinctive piece of craftsmanship. Personally, I will gladly go back to it. (27/03/2019)

Similar to Zahler’s previous flick Brawl in Cell Block 99, the plot revolves around the theme of providing for and safeguarding one’s family, even if the heroes potentially get to a point of no return. Dragged Across Concrete offers a cold and very realistic approach combined with a long exposure to the characters for the viewer to be completely aware of their motives and develop a sufficient bond to them. And this might be the most questionable aspect of the film. Indeed, unlike the director’s previous flicks that only provided one linear exposure to a whole range of characters (Bone Tomahawk) or just to a single main hero (Brawl in Cell Block 99), this time, we’re diving into the world of no fewer than four separate individuals, jumping from one to the next, the film possibly losing ground in terms of pace. And that’s odd, since we just can’t get enough of that insanely cool Vaughn/Gibson duo, between whom the dialogues flow like magic. Another point: Zahler is making a daring polemic targeting political correctness gone too far in a conflict with law enforcement, for which the central duo of policemen is suspended and thrown into a deadly spiral beyond the limits of the law. A raw and disturbing flick that will grab your attention from start to finish. [Sitges 2018] (10/10/2018)

Depois do fantástico Brawl in Cell Block 99, Na Sombra da Lei é dramaticamente mais moderado e menos brutal e denso, mas compensa-o com o seu amplo estilo narrativo. Todo o enredo pode resumir-se basicamente como uma vigilância única de dois parceiros policiais suspensos que, com a perspetiva de grandes lucros, se envolvem num empreendimento criminoso que excede gradualmente as suas capacidades. No entanto, a história de uma hora (uma grande história) S. Craig Zahler concebeu como um drama-conto policial quase três vezes mais longo, em que cada grande personagem deve ter uma longa exposição com uma história, motivações e origens familiares claramente definidas (Brawl in Cell Block 99 tinha um desses personagens, enquanto aqui há pelo menos três, o que dilui um pouco a dinâmica narrativa), mesmo para aqueles personagens que não precisariam necessariamente disso (todo o intermezzo de dez minutos com Jennifer Carpenter, culminando no assalto ao banco, é uma excelente e poderosamente eficaz curta-metragem por si só, mas que tem uma importância mínima em relação à ação circundante). Como resultado, o filme complexo, habilmente dirigido, engenhosamente construído, forte e consistentemente artesanal, carece ocasionalmente de ritmo (especialmente nas passagens de diálogo) e, no sentido de violência moderadamente doseada, também de um momento de surpresa, onde cenas que conduzem a algo sangrento podem muitas vezes ser adivinhadas com antecedência. Ainda assim, o enredo desenrola-se de forma imprevisível e todos os aspetos do filme são fortemente profissionais. Vince Vaughn tem desta vez um papel muito mais elegante, Mel Gibson é um grande parceiro, e a crítica ao exagero do politicamente correto aliada à brutalidade policial nas médias é agradável. Não é tão impressionante e emocionalmente devastador em comparação com Brawl in Cell Block 99, embora esse seja um nível que provavelmente não poderia ser ultrapassado. (10/10/2018)

"Likewise." One of the main reasons Zahler's films so far have been conducive to developing a close relationship with the protagonists has been their struggle with absolute, unconditional evil. It’s no different here, and that is why it was necessary to be more cautious from the start, because here for the first time he decided to express himself beyond the medium of film and comment on the current state of society. Because in the context of a fictional fight against evil, of course the truth understandably does better, doesn’t it. And the opening dialogues really smacked of trouble in the way they expressed a position as if on paper. By the way, older actors past their zenith should be banned from using lines containing the word "nowadays" in contemporary films. Thank you. Once again, however, the overlong exposition, minimization of formal shorthand, and attention to detail helped Zahler to a breathtaking second half of the film, where almost every shot is unexpected, every punch hurts incredibly, and everyone here delivers on their guarantees. Especially the bad guys. The impact of gunshots in the silent, slow space drowning each scene then literally breaks into the viewer's safe zone, presenting a unique physical experience that is so rare these days. And for that, Zahler is to be loved. As much as I wouldn't want to be a female character in his film. Few people really dare to do what he does to them. (08/04/2019)

The film was long and noticeably so, which is a real problem. The story basically had two modes: 1) action film with a great atmosphere for a tough audience and 2) some sort of uninteresting thing that was dragging on and on. When I balance out the pros and cons, it amounts to a decent three stars. The film’s biggest asset was that its authors avoided the all-pervading political correctness. I was often thrilled with what I heard, which is why I had to give four stars. (04/08/2019)

Zahler certainly doesn't worry about whether or not it's "sufficiently audience-engaging and engrossing in every second" and builds the entire exposition at a very tepid pace indeed. Still, I wasn't bored for a moment, which is mostly a credit to the great dialogue and the gradual tightening of the screws. It was good to see Mel Gibson back in a proper role after all his (personal) screw-ups and he and Vince Vaughn make a great duo here. Anyway, this third feature film by Zahler is probably his most conceptually interesting out of what he's done so far. It doesn't have the frenetic "video game" vibe of Brawl in Cell Block 99, nor is it as intensely explicit as Bone Tomahawk, but the social/societal dimension of the overall narrative is obvious and very important here. Through the lens of Mel Gibson's character, the whole story could be seen as a critique of the modern hyper-correct age, where the old ways have long since disappeared, and where those "old school honest men" have it pretty tough unless they're willing to climb up the right assholes. In fact, I see the whole film as a kind of sighing over the present time and especially at the principles and mechanisms on which today's ideals are built. [Febiofest 2019] (01/04/2019)

S. Craig Zahler deserves a medal for such an original and clever whodunit with a strong social overlay. Especially since the crime genre in America has been on the decline in recent years. I am amazed that he not only wrote the screenplay, but also contributed significantly to the music, which very much suited the slow pace of the narrative, and he directed the whole thing himself. I'm getting more and more interested in this guy. Some of the dialogue in Dragged Across Concrete could be set in stone. Occasional black-humored quips lighten the tense and ever-thickening atmosphere. The story has a consistent and engaging plot with unexpected twists and turns. The icing on the cake is the well-chosen cast. (85%) (31/07/2021)