Summit Entertainment | Release Date: March 22, 2019 | CRITIC SCORE DISTRIBUTION | ||
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Positive:
14
Mixed:
13
Negative:
1
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Critic Reviews
RogerEbert.comMar 22, 2019
The result is a film that often feels like Zahler’s most assured to date. Self-indulgent? Oh yeah. A provocation? You bet. But it’s difficult to ignore the craftsmanship and performances in Dragged Across Concrete simply because you don’t like some of its darker themes or feel like it’s too long.
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I’ll see anything Zahler does because I was weaned on the same junk he was and find his mix of amateurism and genre smarts appealing. That’s not a sign of my integrity — a man’s gotta watch what a man’s gotta watch — but of my fundamental laziness and corruption. I hate that I can settle for Dragged Across Concrete.
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At a whopping 158 minutes, “Concrete’s” sleek, languorous anatomy of a heist represents the filmmaker’s most extreme exercise yet in painstaking genre deceleration, sparked as ever by the tangy movie-movie vernacular of his writing, the crunchy metal-on-asphalt dynamism of his craftsmanship, and the back-from-the-brink reanimation of his stars.
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The Film StageSep 4, 2018
Where the new entry lacks in bloodshed and bone-splintering violence, it still confirms Zahler’s penchant for complicated characters, and conjures up a bad cops action movie which, despite blips in tension and a second half far superior to the first, crystallizes Zahler’s as a key name to watch for lovers of the genre.
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The TelegraphSep 3, 2018
Even when the heist gets underway, the film takes its time about everything: what Zahler has essentially done is put a 15-minute mid-blockbuster set-piece on the rack and stretched it out until its cartilage pops. The duration is part of the point – you can’t do gnawing fatalism in a hurry – but the repetitions and languors here can feel presumptuous.
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The GuardianSep 3, 2018
Zahler has a way with action, and the set pieces are inventive and nasty, with an unflinching eye for violence. Such style and confidence is impressive. But after three movies, his increasingly morose characters’ world-weariness is becoming wearying in itself; a little more light and shade here and there would easily take this cult director to the next level. That is, if he wants to go.
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