War on Everyone (2016)
Country: GB
Technical: col/2.35:1 98m
Director: John Michael McDonagh
Cast: Alexander Skarsgård, Michael Peña, Theo James, Tessa Thompson
Synopsis:
A pair of bent cops get wind of a big score but run up against a ruthless and corrupt English businessman.
Review:
Mining the devil-may-care attitude of 1970s buddy cop series, and shot through with the amoral profanity of the McDonagh brothers' other work, this guilty entertainment has to perform the neat conjuring trick of keeping its audience on side on the basis that only degenerates suffer for their crimes, provided we forget that both the heroes are criminals too. The fact that it achieves this meta-textual sleight of hand, and does not give a damn whom it offends, is either a weakness and a self-indulgence or a triumph of postmodernism.
Country: GB
Technical: col/2.35:1 98m
Director: John Michael McDonagh
Cast: Alexander Skarsgård, Michael Peña, Theo James, Tessa Thompson
Synopsis:
A pair of bent cops get wind of a big score but run up against a ruthless and corrupt English businessman.
Review:
Mining the devil-may-care attitude of 1970s buddy cop series, and shot through with the amoral profanity of the McDonagh brothers' other work, this guilty entertainment has to perform the neat conjuring trick of keeping its audience on side on the basis that only degenerates suffer for their crimes, provided we forget that both the heroes are criminals too. The fact that it achieves this meta-textual sleight of hand, and does not give a damn whom it offends, is either a weakness and a self-indulgence or a triumph of postmodernism.
Country: GB
Technical: col/2.35:1 98m
Director: John Michael McDonagh
Cast: Alexander Skarsgård, Michael Peña, Theo James, Tessa Thompson
Synopsis:
A pair of bent cops get wind of a big score but run up against a ruthless and corrupt English businessman.
Review:
Mining the devil-may-care attitude of 1970s buddy cop series, and shot through with the amoral profanity of the McDonagh brothers' other work, this guilty entertainment has to perform the neat conjuring trick of keeping its audience on side on the basis that only degenerates suffer for their crimes, provided we forget that both the heroes are criminals too. The fact that it achieves this meta-textual sleight of hand, and does not give a damn whom it offends, is either a weakness and a self-indulgence or a triumph of postmodernism.