DRAGGED ACROSS CONCRETE: Bloated, Divisive, Yet Compelling

S. Craig Zahler has already forged such a reputation, that going into his third film as writer/director one already knows what to expect to some degree. Long, dialogue-heavy scenes tiptoe slowly towards an explosive and likely brutal final confrontation. Zahler has been compared to Tarantino and likely always will, but he has already easily broken away from this comparison, imprinting his own unique mark on genre filmmaking. After his western turned horror Bone Tomahawk and the ultraviolent prison bruiser Brawl in Cell Block 99, Zahler here tries his hand at a neo-noir cop tale.

Mel Gibson and Vince Vaughn are the hard-hitting cops, suspended for being too brutal on a suspect. With no paycheck incoming and bills to pay, Gibson’s Brett Ridgeman convinces his partner to follow a lead that may just get them mixed up in a much bigger, much nastier plot.

Lengthy but never uninteresting

Dragged Across Concrete sees Zahler operating at a leisurely pace, with the runtime stretching to a massive 2 hours 40 minutes. Few films warrant such a runtime and this is not one of them. The excess material is obvious every time it is on screen, usually in the form of languid, aimless conversations between characters. The director reunites with Brawl’s Jennifer Carpenter for what amounts to essentially an extended cameo here. Her short story dropped into the middle of Dragged Across Concrete feels strange and out of place.

However, there is still something to admire in the way Zahler crafts these scenes, and although it is unnecessary it’s never less than intriguing. Every scene is interesting and attention-holding if not quite needed. These scenes will be the true test of the audience. Fans of Zahler will find themselves settling into these now familiar long, arduous conversations, savouring the one-liners. Newcomers, on the other hand, will likely be left baffled.

The main issue with such a weighty runtime is the third act. A slow pace is expected from Zahler‘s work, but such a build-up requires an explosive and worthwhile finale. In his sophomore effort, Brawl, the director excelled with an explosive ultraviolent frenzy that was impossible to tear your eyes away from. Dragged Across Concrete can simply not compare, with the finale being enjoyable, but missing that spark. The conversations seep back in, when the time for talk should have long stopped, and the tension is sapped from the cinema.

An uncomfortable watch for some

There is much to like here, though, as well. I never thought I’d write this, but Mel Gibson is certainly a highlight. His casting as the hard-boiled cop unwilling to change with the times is Zahler playing with his audience, but instead of just being a talking point, Gibson absolutely nails the role. Tory Kittles’ Henry sits at the other end of this story, an ex-con also getting mixed up in a dodgy deal. It is obvious that these twin tales will intertwine but when and where is part of the thrill.

Kittles, considering his should practically be a leading role, and considering the length of the film, is mostly underutilised. After his starring role in Brawl, Vince Vaughn is demoted here to the partner, Anthony Lurasetti. He’s definitely left with the less meaty and interesting role, but he makes it work and is clearly in tune with Zahler’s unique kind of writing.

Speaking of which, Zahler’s dialogue is still whip smart, and his comedy deliciously black. Perhaps that’s why he insists on packing Dragged Across Concrete to the brim with it, with no line however extraneous falling to the cut. His writing is more on the nose than in his previous efforts regarding the characters’ political sensibilities, and its ring wing leanings are bound to unsettle and upset some of his audiences.

That is the beauty of Zahler’s work, though, as it contrasts and challenges, in such a dramatic way, the values of much of its audience. People will have issues but I can’t imagine that the director is likely to care.

Dragged Across Concrete: Conclusion

Zahler’s loyal cult following will find much to love here, although first time viewers will find it a difficult watch. The director has crafted his own place in genre filmmaking, and this film cements his position further as the ultimate outsider. As with all his films, Dragged Across Concrete begs to be played at a midnight screening. Maybe show it first, though, as it won’t quite tear the house down the way Brawl or Tomahawk will.

Are you a fan of Zahler’s ultraviolent work? Let us know in the comments below.

Dragged Across Concrete was screened at Venice Film Festival in September and at Beyond Fest on October 9, 2018. The film will be released in early 2019.