When I heard that Ben Wheatley had made a film comprised almost entirely of a gunfight, I was both intrigued and suspicious. Would it be a straightforward punt at the mainstream or a stranger, more transgressive trip; well acquainted with the touch of the velvet hand, like a lizard on a window pane? After all, the shootout on film is nearly as old as the medium itself, and has been both the catalyst for some of cinema’s most electric, innovative sequences… and it’s most shamelessly commercial drivel. Sam Peckinpah once said, “I’m a student of violence because I’m a student of the human heart”. He also said, “I made a film where nobody got shot and nobody came to see it”.Read More
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