Director:
S. Craig ZahlerGuión:
S. Craig ZahlerCámara:
Benji BakshiReparto:
Vince Vaughn, Jennifer Carpenter, Don Johnson, Udo Kier, Geno Segers, Dion Mucciacito, Fred Melamed, Rob Morgan, Tom Guiry, Marc Blucas, Dan Amboyer (más)Streaming (4)
Sinopsis(1)
When former boxer (Vince Vaughn) loses his job and is faced with the breakdown of his marriage, he decides to take a job as a drug courier to turn his fortunes around and provide a comfortable life for his wife Lauren (Jennifer Carpenter). Just as his situation begins to improve, a savage gunfight lands Bradley in jail where he has to make a series of impossible, chilling decisions to protect those he holds dear. Backed into a corner, Bradley now finds himself forced to commit ever more ferocious acts of violence across a vicious prison battleground on the path to the most dangerous confinement of all - Cell Block 99. (Universal Pictures UK)
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Reseñas (16)
Corte magistralmente dirigido, filmado, narrado y escrito, en el que se construyen cuidadosamente gradaciones, tensiones, ambientaciones y personajes, sin olvidar las dosis homeopáticas de humor negro, al que siempre le sigue un balde de agua helada y una excelente culminación. Un drama civil original, inventivo y denso, que poco a poco se convierte en varios tipos de thriller, y en el que la sensibilidad interior se conjuga a la perfección con la cruda brutalidad. Además la interpretación de Vince Vaughn, quien se transformó de un héroe de comedias románticas a un carnicero mortal. El infierno de Dante sin concesiones en la versión de la prisión, una visita obligada para todos aquellos que respiran fracturas abiertas y aman ver cráneos pisoteados.
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Una nueva definición de brutalidad en el campo del cine, que influye y cambia las tendencias de la cultura pop. Una forma alternativa de mundos de superhéroes con un vengador alfa en contra de su voluntad, que va culminando con una violencia creciente y al mismo tiempo avanza hacia un entorno surrealista que muestra entornos carcelarios contemporáneos. Todavía se siente el entumecimiento social (me refiero a Bone Tomahawk), pero esta vez hay buenas intenciones detrás de la brutalidad directa. Intenciones buenas y protectoras. Como si fuera el lado más oscuro de Drive poética, diez veces mayor y las dos horas rumbo a un infierno cada vez más profundo. Es el papel más importante interpretado por Vaughn, por el que debería dar muchísimas gracias a Zahler. Pero es un papel minimista y no suficiente para el Óscar. La nominación es más probable para Don Johnson, resucitado de entre los muertos, que interpretó su papel con mucho gusto. El final despertó en mí la misma euforia de lo aún no visto que alguna vez despertó en mí Pulp Fiction. Para los tarantinianos y seguidores de las visiones originales del inframundo y el crimen, es, como mínimo, la película del año. [Sitges FF]
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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.
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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.
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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.
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