Having shot two films, John McDonagh gained fame as a wonderful promising independent director. To the third work he returned to the police theme, declaring 'War against all'.
This film is completely different from 'Once Upon a Time in Ireland' nor from 'Golgotha'. Because you won’t see anything Irish. It's about two cops, one very aggressive and violent, the other a walking encyclopedia. They are, of course, opposites, but both of them are still notorious villains. It is easy to bribe, and often looking for someone to beat. And now, they're facing a robbery case.
It's not clear what McDonagh wanted with this film. Whatever goals he had, he seems to have failed. It's a very uneven picture where the best part is the dialogue between the two main characters. And they are very similar to the negotiations of two gangsters from Pulp Fiction & #39.
Moreover, McDonagh styled ' War Against All' under the detectives of the early seventies, which does not seem entirely appropriate. Let's hope that this film does not send literally just started to create the director to vegetate on the sidelines of history.
An action comedy, but from John Michael McDonna. He made an ordinary, boringly predictable and unoriginal, but not a bad film.
Two privates ' bad' detectives, Bob and Terry, who, in the classics, are opposite in character and appearance, but close in spirit people cling to one big business that will start a chain of events in their lives, and it will have to be crushed to the end. The pair of main characters drag the film with their coolness, as in any similar project, they easily cope with the problems that create secondary characters - a synopsis of almost any film of this type.
In his film, John Michael McDonna tries to strike a balance in everything: between action and dialogue, drama and comedy, even on the not most important characters, he pays due attention, a little bit of walking through each of them, but this desire to have time everywhere leads only to counterproductive tug of the blanket. It does not claim any deep meanings or original moves. But still, the director inserts something from himself. Starting from the unusual editing and ending with the already tired chips of John Michael McDonna: landscapes of nature, a signature soundtrack, fractures of the fourth wall and of course a postmodern game. It seems that the character of Michael Pena was written personally for this - he is just a storehouse of interesting facts, completely irrelevant.
The movie is alive because of the director's chips and the dialogue -- wonderful dialogue about the funeral, or Reggie's orientation, or racism. In this regard, the picture can throw up a couple of interesting observations. John Michael McDonna for the hundred thousandth time draws in fact the same image of an erudite and calm person, punching everything with his coolness, in all his films there is a similar hero: Father James in Golgotha, Jerry in Once Upon a Time in Ireland, finally Bob in War Against All, who undergoes some changes from film to film - this type is clearly an ideal for a director, and he is looking for different forms and ways to show the hero on the screen. Bob is not the main character in this picture - he is a kind of guide and mentor for Terry. But whatever it is, it can be considered a personal stagnation, or simply the inability of the director to do something more and different.
Thus, “War Against All” is an easy movie for the evening, the mood of which is created by the serenity of the main characters and the lack of depth that burdens the brain after watching. Despite some very limited originality, the film, in its essence, is an ordinary project and is lost among thousands of similarly good films.
6 out of 10
And another good movie from a good and not-so-famous director John Michael McDonagh. Apparently tired of philosophical torment in Calvary, John decided to turn again to the genre of criminal blackish comedy-action. Balm for the soul longing for a la Ritchie-Tarantinian madness. All the truth happens not in the rhythm of breakbeat and boogie-woogie, but rather funk and rock hits.
Copsplate is about a couple of bad cops who, as usual, mostly rob, beat and kill bad guys like Robin Hood, but also do not forget about personal well-being. The duo traditionally is a big strong and dull and small nimble and very smart. Both have excellent reactions and do not suffer much moral torment. They are confronted by a couple of very bad guys. Bluish hysterical sadist and drug addict criminal genius, quite the embodiment of evil and darkness.
The ending begins for mercantile reasons, but the end is under the auspices of good retribution for the truth. And since power is in truth, nothing will be unpredictable in general.
The action takes place in sunny New Mexico and the mood of the film is very cheerful. The actors, for the most part, are not very famous. Cops are played by sexy Alexander Skarsgard (watched a very good TV series Little Drummer) and coolly showed himself in Narco: (Mexico) Michael Peña. The scoundrels are very coolly performed again by sexy Theo James (played in various rubbish like Divergent, but there were also good films like You Will Meet a Mysterious Stranger) and eccentric Caleb Landry Jones (played In All Heavy and A Horrorist Away). Well, now we can say that one of the secondary roles in the film is played by a rising star, Thor’s girlfriend is really not the best replacement for Will Smith Tess Thompson. With her in the film will be useful a couple of soft-erotic scenes.
I definitely recommend the movie. Have a good time.
Here’s another example (at least for me) where there’s something in the movie, but somehow it’s all... not obvious. I mean, of course, the so-called ' highlight'. In fact, the movie is not bad – especially in the correct translation of Goblin – but, despite the obvious development of the characters, the funny plot and the abundance of Russian colloquial, rather boring. The final ' dragged ' the whole picture, although it is very comic and implausible, but there the whole plot is like this. In the rest, I expected that there would be a carbon monoxide thrash, and the writers screwed the drama up to the glands, which is not bad, but suddenly.
The main characters are bad, but not for everyone. They have their own ideas about morality, different from adequate, but their friendship is real. Therefore, it is worth watching at least until the climax of the film to appreciate and penetrate it. And the character SkarsgårdTerry I liked a little more than the character Penya, due to the less bloated. Terry either wants to seem worse than he is, or it's easier for him to live like that - I don't know.
There are similarities with the films of early Richie, only with the mother. Humor is unique, and characters are memorable. It's all a plus. And the minus is the strange motivation of Glavgad and his henchmen. Theo James was not given time to play, prescribed the character somehow crumpled: only he dispersed - the film is over. What can I say about him? Bad Englishman. McDonagh, apparently, does not like Englishmen.
As I wrote above, the film is normal, but still sagging middle spoils the impression and causes drowsiness. Hooliganism is said for such subjects and such images. Sorry.
A film about enjoying the moment — in our case the picture
The new work of director John Michael McDonagh about two corrupt police officers is a collection of jokes, quotes and references to “colleagues” in the genre. We can assume that the film is a tough parody of what is happening in the world of a detective action movie. Only in the end, the desire to create a “complex” movie turns into a weakening of quality.
The good in the film can be attributed to the camera work and the acting. It’s very nice to watch the behavior of the characters and enjoy watching beautiful scenes. The action in the film will not be limited to the locations of one city. At some point, the characters will have to visit Ireland, and even buy in hot springs. A lot of bright colors in the frame, a constant change of props - details that emphasize the mood. The director can make the characters start dancing in the room to emphasize the scale of the room and the absence of excess in the frame. This is what makes you want to watch a movie.
In the plot, John Michael McDonagh combines many elements, fills everything with maximum symbolism and turns what is happening into “jelly”. Wanting the characters to create an atmosphere that the audience will like is a wonderful initiative. This is a direct way to quality arthouse cinema. But in the case of the film, there is no biochemical reaction. Characters don't evolve. Meaningful load does not occur, because there is not enough elaboration of the very details from which the film is formed. You can’t just ridicule the weaknesses of the genre that other films have and not create your own.
The film simply lacks high-quality elaborated scenes. The question always arises - did you show the "scene" to what? How does that play out? Take the beautiful film of the same director “The Guard”, which has scenes that reveal both the characters’ characters and help develop the plot. In the case of this film, there is a void behind the pseudo-revelation. If the director wants to show the characters of the characters, their everyday life and a certain “absurdity” of what is happening, then there is an understatement in all the elements. As the characters of the film say: “Pay attention to the present moment.” So does the director – enjoys the picture and it is enough for him.
6 out of 10
“There is no normal scenario?” - Then there's no shit.
Basically, the title says everything. John McDonagh follows the precepts of Hitchcock and once again reminds us that for a great film you need three things – a script, a script and again a script.
And although John is probably less talented than his younger brother with his only three but magnificent feature films, he also has his place in the niche of the already semi-classical cynics of modern cinema.
At a time when the Oscars are replaced by voters in order to add more African Americans and sexual minorities – at first glance, John McDona’s not too fresh and unique humor looks just super relevant and appropriate. A selective portion of racist-black humor just a killer cocktail gracefully passes through the stereotypes of modern Hollywood. Absolute intolerance is more satisfying now than ever. And even if, quite possibly, the director himself did not intend this, but he came out with an extremely topical black comedy.
Despite the periodic slide of the plot into despondency, the film is still surprisingly close to the ideal of the genre. Beautiful shots, a great soundtrack, dialogue, which can sometimes be divided into quotes and most importantly - a unique style of storytelling. Both brothers use a completely roof-bearing genre experiment with intersperses of Tarantino, westerns and an intriguing detective component. And the plot, the plot and the plot - unpredictable, even a little wild, but worthwhile. As a result, the film looks like a hurrah and the legal final shootout (see "Seven Psychopaths") - a real little cherry on the cake.
"War Against All" is weird, a little wild, aesthetic and beautiful. I recommend it.
8 out of 10
British crime comedies work most actively on the seemingly forgotten field of militants, where, on the whim, low-grade films are thrown, from which there is no expectation, but which look like small business for the general structure of the market. The only difference among Britons is that snobbish descendants and their opposites try to be as expressive and extravagant as possible, so they put everything on the line. Even his name from previous films.
McDonagh can't be convinced of anything. Honestly, this kind of work is the personification of the post-work/holiday state of the soul and body. Originality in them should be much more than acting, and outrageous should more than surpass the canonical distribution of the plot.
Applying the concept of “farce of war” to this film, the director took to the background all the vain special effects and punchlines, from which every child seeks to feel part of the common. The war really goes against everyone, and the jungle is the true path, the strongest survive. Do not bend under the changing world, it is worth bent it willfully. Racking under themselves everything they see, the characters are the heroes of a new generation, stopping at nothing. And the more chaos there is in the frame, the more pleasant the feeling will become. It is worth noting that McDonagh was hardly easy to go on such an attractive experiment without hesitation, but he may well be pleased with the resulting effect.
Thought... The main thing in determining whether a glass is half full or half empty should be the presence of water in it.
So, the realm of vacuum and freedom. By taking a full, uncrucified view of a world where anything is possible, and your neighbor’s boundary is not a forbidden fruit, McDonagh missed one thing—behind this cover, farce becomes reality, and hypertrophy becomes commonplace. Interchange with a dramatic narrative puts the farce in the place of the victim, who accidentally succumbed to the temptations of the bright world, and a sharp change of direction, fragments of the plot and “bassy” protest shooting, putting in the corner as many corners as possible, goes into the category of home troubles and Monday morning.
Shame. This tape was preparing again, like all British cinema of this style, to wipe the viewer’s nose and make him kneel, trying to get off the ground and jump to his tune, but achieved that she can respectfully shake hands, but forget about the meeting for a couple more breakaway calendars.
“The main thing in cinema is the script. No good
You don't have a fucking script.
("War Against All)
From John Michael McDona, the director and screenwriter of the magnificent Once Upon a Time in Ireland and simply the masterpiece Golgotha, something equally magnificent and masterpiece was expected. But they showed us why "War against all."
McDonavsky: two bad cops living on bribes, big lovers of drinking and smelling everything, in pursuit of a big jackpot suddenly stand on the side of justice. We've already seen a not-so-good cop in Once Upon a Time in Ireland. But Jerry Boyle is a real, lively man, a charming man, his boyfriend, and although he is not a model minister of the law, he is not a bad person. He is primarily a human being. And in the course of the film, this “humanity” is revealed, and in the end we understand that in the case of the som he is an excellent policeman, excellent not in form, but in content. In War, we have two sick bastards and jerks just walking from stage to stage, beating everyone in their path. They have no stories, characters (except for a couple of traits – one sprinkles quotes from everything in the world, and the second slouches), motivation, it is not clear what explains their actions. And why they were drawn to justice and where they considered it at all, is also not clear.
By the way, all the characters suffer here. They're all equally stupid and ridiculous. The plot here is also difficult to call a plot. The feeling that first wrote a couple of dozen jokes, and then began to sculpt scenes to them, without thinking about their connection. These gags aren't fountainy either. There are some funny moments, but against the general background of meaninglessness, they often sound playful and ridiculous. The funniest thing I thought was that the main villain, the mad English lord, was played by a sweet divergent boy. And he plays, amazingly, well. There are no claims to the actors at all, they play their roles perfectly, only the roles themselves are simply none.
The film boasts a juicy picture, stylish interiors, fashion clothes and cool music. Well, at least something.
Maybe I just didn't understand. Perhaps it is, as most critics write, a very clever thin canvas, with deep dramaturgy and social meaning, or it is a very subtle parody of something, or a caustic topical satire that raises important questions, and I with my petty-bourgeois consciousness do not understand it. The only question I had after seeing it was, “Did I fucking watch it?” The film left no thoughts, no good mood, no smile, no irritation, no questions.
Perhaps expectations were greatly inflated by the name of the director, and this is just a good comedy about muzzle with shootouts, booze, drugs, black humor, racist humor and vulgar humor that we all, what a sin to hide, very much love.
Perhaps this is due to another quote from the film:
- What is this story about the philosophy exam and chair? What's the point?
- It doesn't make any sense. It's a Zen koan. I want you to hang around and think. And I screwed her up. You should have said, “Prove that the chair does not exist.”
Yeah, it looks like it was a Zen koan that someone screwed up.
The film is about two cop partners who take bribes, frame people and sniff coke.
The beginning of the film is very long. I don't know what it means. They drink with criminals, extort money and smash everything in a row on a sports car.
Something's finally clearing up! A bunch of bandits committed a robbery, but everyone except the driver was shot. He got away with a million dollars. These two cops found the driver and he turned them over to James (the handsome Theo James).
The development of the plot - well, very long and boring! The whole movie doesn't really happen.
The ending is even worse than the movie itself. Or rather, it's about nothing.
The humour is typical American. For people who don’t understand such humor (like me) – just a couple of normal jokes.
The film collected everything: drugs, sex, cool cars, racist and black humor, chases, shootings. The movie didn’t work anyway!
Conclusion: Failed stupid American comedy. It's hard to see until the end.
The story tells the story of two men, Terry and Bob, who are decent police officers in New Mexico. What do decent police officers do these days? Right, take bribes, threaten, maim and kill people. And this is only a small fraction of the absurdity that awaits you on the screen.
I’ll tell you right away, I started watching this film with a clear bias, because the rating of 6.3 seemed to me very low for a good film. From the first minutes, I thought it was a typical stupid comedy, ridiculing stereotypes about stupid cops. And I can't convey my ecstasy when I realized that it wasn't.
With such a typical plot, the film is really catchy, and usually catches two things. These are images of detectives that reminded me of the main characters of the first season of True Detective, where they were played by Matthew McConaughey and Woody Harrelson, here Alexander Skarsgard and Michael Peña. And they really managed to captivate the viewer with their characters, so different, but very organically interacting with each other. In general, it is worth noting that there are a lot of interesting images in the film, in addition to the main characters. The second is the beautiful dialogue, which in many ways reminded me of the dialogue of Quentin Tarantino’s film Pulp Fiction. Seriously, some scenes with the dialogue of the main characters I have reviewed several times. They amaze with their immediacy and detachment from the very action on the screen. In addition, the film is full of subtle, as for me, and ironic humor, although in a film about American cops you expect something more trivial.
Given the above, I can say that the film really pleased me and did not let me get bored for a minute. Recommended for viewing for all fans of charismatic characters and a little blackish humor.
7 out of 10
Do you love crime thrash comedies as much as I do?
In my purely subjective view, the crime thrash comedy War Against All is on the same pedestal as Quentin Tarantino’s much-vaunted Pulp Fiction. You can boo me, but I will not change my opinion: “War Against All” is a masterpiece at the intersection of sitcom and noir genres, seasoned with the signature style of John Michael McDonagh.
After reviewing the reviews on the site, I was surprised: most of the reviews are negative. Yes, guys, I agree that this film is very different from the general Hollywood popcorn movie, but another one is not bad! And the fact that there are no generally positive characters in the film does not mean that it is only about bad people and their bad lives.
Continuing to draw parallels with Pulp Fiction, I would like to remind you that in that legendary film there were no uniquely positive characters, but their absence did not prevent both critics and viewers from very highly appreciating KCh, for the simple reason that cinema should not serve the purposes of moralizing and propaganda. The film should make you think, and not bring the viewer “on a plate with a blue stone” proof of the correctness of behavior imposed by public morality!
Let’s go back to “The War Against All.” It must be admitted that in this particular case, the Russian rolling translation of the original title War on Everyone as War against All more accurately reflects the essence of the film.
Indeed, the main characters of the film are conducting a daily war against everything and everything (now nervous and especially sensitive I ask you to step aside): against drug dealers by sniffing out goods; against robberies and robberies by maiming criminals and confiscating everything they have acquired by criminal means; against pedophilia and pornography by physically eliminating pedophiles, etc.
The main artistic techniques of the film are hyperbole and grotesque, a parody of our reality. I consider it hypocrisy to deny that unscrupulous and unscrupulous police officers “live and work” near us, have families and children, as well as to deny that organized crime is not a congregation of Urkagans in tattoos, high on chefir and chanson, but the activities of “solid men in suits of ...”, who are considered the cream of society and have reached the bottom of moral decay.
Actors Michael Peña and Alexander Skarsgård formed an amazing duet in the film: They came together. Wave and stone, poetry and prose, ice and flame. Tall, blue-eyed and in the plot is not too smart lone figist performed by Skarsgård, with whom all the worst was already, and who has nothing to fear, and his antipode, plump and stocky brunette, unscrupulous chauvinist-intellectual performed by Peña, who is the brain of the duo, providing at the expense of his dirty deeds a beautiful wife and two young degenerate sons. In both characters, at first glance, in principle, there can be no positive intention, no good motive. But... Throughout the film, writers and directors prove the opposite to viewers.
Now to the point: why do I recommend watching this movie? Because:
It is very funny (for connoisseurs of black humor and comedy situations);
- He is spiritual (for the soul takes the noble impulse of the heroes to “revenge” the offenders);
- he does not look like anything - such a cynical thrash I have not seen for a long time;
- it is very qualitatively made - without sagging the plot, with a beautiful visual range and amazing musical accompaniment;
If all of the above did not become the motivation for watching “War Against All”, then of course this film is not for you!!
First, the story. Corruption among the police is an outrage that should be consistently discredited on the big screens, create a negative image of this phenomenon, or at least finalize the story with an unequivocal indication of the inevitability of responsibility, at least some sad consequences. Unfortunately, in this film, the opposite is true. Impunity and irresponsibility is the motto of this film. Here, the main characters are allowed everything, and nothing “flyes” for them. Even removal from business for them becomes a blessing, not an unfortunate loss. Being in your mind, it is difficult to sympathize with scumbags, even if they are the main characters of a bright fairy-tale show.
The plot is given by many factors. The main characters are shown under constant pressure and supervision from the boss, but for some reason this does not interfere with their activities. There is, of course, a discrediting of power as such, and it is depicted here in a grotesque form. (Of course, it’s fun to make fun of a funny, stupid boss, but you have to know how to make the story look more like reality.) And, interestingly, where is the internal police, since we are talking about reliably known facts of regular official violations?
According to the director’s version, the evil in this film personifies a certain English aristocrat, with a strange “code of honor” and manners. There is no other way to call such evil stupid and false. After all, the world of real crime does not tolerate sentiment and indulgence. And here, for some reason, the confrontation of the “poles” of power has the form of a children’s morning, where peaceful life in itself, and “deeds” also in themselves, nothing and nothing here, like, intertwined. Only once someone's car exploded, and then with a scare. But the good side is so easily vulnerable, with its own family burden and publicity, with full baggage for blackmail or physical elimination. And here some “evil underground genius” is trying to “pull the owl on the globe”, although this makes no sense and even fraught. A fabulous idiot!
We end up with dirty cops on one side and operetary criminals on the other. They are like two sides in a confrontation in which a normal person has no one to sympathize with. From this, the whole film, despite the interesting production, becomes meaningless and empty.
The drugs in this movie are joyful and positive. Alcohol included. But for some reason, this does not prevent the heroes from steadily showing miracles of professionalism in various situations. The author of the script does not grasp the connection between real human abilities and the superpowers shown on the screen. Despite the regular use of anything, the heroes are always fit, cheerful, ready to rush into a long chase and engage in combat, shoot accurately and so on. Given this, in order to give greater credibility, it would be necessary to promote the idea somewhere that, they say, it is time to quit, or I do not have time, or something like that. "Yeah, you!"
The picture is supplemented with oil by a whore with the habits of an angel, because she is potentially a good mother and a caring wife, a promising artist, a constant cutie and so on. But why make a whore out of such a treasure, ready to jump easily from one partner to another? Why not leave a light veil of mystery and fabulousness on the female character, why necessarily reduce it to an animal? I understand that I want too much, given the current depravity, especially in the West. But it is unnatural to have the best feelings for a woman repeatedly used by someone. She is proud of it...
By a strange coincidence, the writer of the script did not notice one obvious discrepancy in the intellectual abilities of his characters. On the one hand, he obsessively sold the audience their extraordinary development and awareness in various spheres of life. Heroes in almost every insignificant episode demonstrated their knowledge in philosophy, then in psychology, then in culture and everything else. It was, of course, somewhat amusing that such gifted individuals were engaged in such an uncharacteristic for their education, because they should be at least professors of police academies, and not ordinary detectives. On the other hand, the way they searched for a criminal in a foreign country raised huge questions about the intelligence of these characters. Such an act is at least strange and illogical. This could only have been done by stupid idiots. But for some reason they are here "about seven inches in the forehead," which is dissonance.
The grains of black humor, of course, pleased, but mostly humor was built on numerous empty dialogues about nothing. In fact, it was not funny, and it was not sarcasm. Not that, not that.
Special. Giving your heroes encyclopedic knowledge is probably a kind of “chip” of the author of the script, because his pen and directing belong to such wonderful films as “Golgotha” and “Once Upon a Time in Ireland”, the main characters of which invariably demonstrated remarkable intelligence and professional fitness. I confess, to look at such characters in the cinema is much more interesting than on the emphasized stupid degenerates, because they throw at least some topics for reflection and the viewer does not have to put up with deliberate stupidity and permanent primitivism of humor.
Conclusion. With the hope of the best to watch it was interesting, but in fact the film is bad, as they say, “not hooked” anything. It is better to watch only the trailer and think for the rest of your life that the film was worth it.
4 out of 10
A crazy movie about cops who are not used to following the rules. They act as they please, leaving behind distorted cars and a mess, as well as the angry looks of villains who can calm down guys like our protagonists. Michael Peña and Alexander Skarsgård, perfectly got used to their vicious roles. If the types do not demonstrate a new approach to such characters, they look great in terms of style and habits, which combine rude statements to others, dialogues and a textbook of funny facts from the world of entertainment culture. The satire reaching the absurdity is brilliantly supported by hints and shots in which the operator Bobby Bukowski captures in places, successful, memorable angles and moments, like photos imprinted in memory. Theo James and Caleb Landry Jones, came out as curious antagonists, the real opposite of the main characters. The action is processed by stages of investigations, searching for evidence mixed with interrogations of drug dealers. Funny is with sad, justice with impunity. For a police film without brakes, the director / screenwriter John Michael McDonagh, followed the time-tested recipe and did not fail.
Fans of criminal tapes with a comedy bias and mandatory partners, this may like. Conceptually fresh here - no, but there is an atmosphere of nonsense, an interesting story, which includes individual charm and sometimes very hilarious humor.
8 out of 10
"The main in film — screenplay." There's no such thing as a good script.
I have great respect for the McDonagh brothers. Talented Irish manage to skillfully combine both comedic and dramatic elements, resulting in a really good and bright movie, which has a solid dose of humor, sometimes even “black”, witty dialogue, but at the same time and empathetic characters, and a decent share of tragedy, and the presence of meaning and deep morality. And of course, from the new film by John Michael McDonagh, I expected something if not the level of “Golgotha”, then at least the level of “Once Upon a Time in Ireland”, but in the end I saw only a third-rate black comedy.
The problems of “War Against All” begin with a start: it literally begins with the go, it is unclear who the main characters are, what they do and what is happening at all. However, even when you more or less understand who the characters are and what their motives are, they still do not cause any emotions, because, despite the fact that they seem to have biographies and characters, in fact they remain completely clichéd and impersonal bad cops, who are opposed by similarly impersonal antagonists. The plot of the film is a bunch of sketches, sometimes full of frank absurdities, and those moments where the director tries to show us the drama, and at all look miserable.
The comedy side of the picture also pumped up: for a couple of really funny moments there is a bunch of “politically incorrect” jokes that have been exhausted since Tarantino’s time, or even even sorting humor about shit, tits and sperm. And what's funny is that all this sounds along with clever cytats and postmodern references, which makes you wonder: what exactly did the director want to show us? Tragicomedy did not work out due to the poor implementation of drama, and for a good comedy “War Against All” is too primitive, boring and pretentious.
The verdict is an outright passer. If you remember that it was shot by the director of “Golgotha”, it becomes doubly offensive.
5 out of 10
When you watch this film, you wonder only one question: how such degenerates were hired by the police?
The crime and comedy film by John Michael McDonagh about two cops who love to dress stylishly, but most of all love to take bribes, due to a large amount of obscene language looks quite lively and fun. Despite the fact that the plot sometimes sags somewhat, and the actions of the characters raise questions, the film turned out to be quite good. He will probably take his place in the genre of black comedy, because there he belongs.
Already the first minutes, no, even the scenes, give a direct reference to the film Todd Phillips – “The Killing Couple: Starsky and Hutch” (by the way, the series of the same name is mentioned here) – two cops on an old-style car to country music are cut through the streets and pressed. Mima. As you know, voiceless Stiller and Wilson had a chance to visit the 2004 comedy. Analogies can be carried out in the future - an angry boss, an explosion near the house of one of the inconvenient police couple, an informant with dark skin.
As mentioned above, this is a movie about two cops, far from being the most diligent and responsible, cops who chose their own methods of doing business and cops who do not disdain the fact that someone can take away a TV as a reward, and someone clean their face so that a person will lose one eye. However, despite the fact that the guys appear, in fact, bandits with badges, sympathy for them arises. Bob Balagno (Michael Peña) and Terry Monroe (Alexander Skarsgård) are not a good-bad cop duo, but a bad-bad cop, because both are incredibly audacious and cheeky, and their manner of talking makes it clear that the guys are quite ordinary cattle, only wearing a three-piece suit. At the same time, it should be noted that they have their own values and principles, which preserves their masculine dignity. Although they are similar in behavior, they are different in spiritual content. The hero of Peña is a decent family man who arranges romantic dinners for his wife, and the character of Skarsgård is a single bachelor, rushing from corner to corner in his half-empty house in search of a... The other half probably.
Be sure to watch this film in dubbing, because the translation of dialogues in this case will add a plus to the impressions of watching. Filling conversations with rude phrases, of course, does not paint the interlocutors, but gives pleasure when watching. And the fact that these guys behave equally with colleagues, bandits, and even with their loved ones, looks like they (the guys) are real cynics and scum. What is the cost of the educational conversations of Daddy Bob with his two sons?
But look at you. I do not impose my opinion on anyone.
He starts by saying, “I liked the movie, but....” And the first in a row of these rather numerous BUTs would be that this is absolutely not the movie that you expect from Michael McDonagh. After the previous work of this director wanted to see a good dramatic story seasoned with irony and humor, but the director clearly wanted to go into full separation.
What he did, the humor in the picture is usually black, and everything that happens on the screen clearly contradicts the very concept of political correctness. The plot is incredibly dynamic, although it is slightly spoiled by excessive fragmentation. It seems that some scenes revealing the motives of the characters were never filmed. We usually see the events themselves, as a rule, perfectly written and staged, but we do not know why they happened.
The main characters turn a banal story into a work from which you do not want to break away. And it is not only in the magnificent game Alexander Skarsgård and Michael Peña who played probably their most charismatic roles. Just for a long time we have not seen on the big screens really negative main characters who do not hesitate to remain so. Yes, they have positive traits like all real people, but most of their actions are hardly within the framework of normality.
And of course, it is necessary to mention the wonderful in its frostbite jokes, which are likely to scare away some of the audience, but will bring great pleasure to the rest. Successful comedy scenes are surprisingly many, although because of such an abundance it is probably difficult to perceive the plot as a whole. And yes, the special cynicism of the main characters gives these jokes a special charm.
A good criminal comedy, albeit not without flaws, but with its main task, to make the viewer laugh, it copes perfectly.
Another picture of the dashing partners. Period. And that's the end of it. Although you can add that not the best, but you will understand this from the first frames, but judging by the number of delights on the site, only I understood.
Whatever you say, the film is clearly disposable, because if you take into account the filmography of the director, then this product is head lower than the rest. It seems that quite an individualist decided to relax and removed a template action movie with sluggish sharpness. If you remember the pictures about partners, then several come to mind at once, but it does not matter at all, because after watching, you will not want to remember this couple at all.
Of course, the film is not without good jokes, even if they are a little, but they are. What is the scene in the car, when the physiques of the main characters, their reaction, is really funny? There are more, but they can not be remembered, especially all this is drowning in absolutely unnecessary obscenity. One of the heroes, dining in a restaurant with his wife, leading a quite adequate conversation, suddenly asks the waiter whether he pooped into his glass, his wife giggles softly. Delusional.
As for the acting, everything is twofold. If there are no complaints to Sarsgard, his character evoked different emotions, he was real, albeit close, but human, to the limits known only to him. Peña was only good when he kept quiet. His family nest caused trouble, especially the atmosphere. Very repulsive character. But if they solo together, without exchanging for other characters, then a small miracle happens, in the form of a cheerful kintz. In the frame, they often act as a duet, so all the shortcomings will be tolerated.
The film can be recommended for viewing, but fans of the director need to reduce expectations, and so solid, and enjoy the unassuming spectacle, able to laugh a couple of times, and most importantly, not drive into anguish, which is already a plus. But tomorrow about the movie will not remember that in this case, too, plus.
To this picture I was skeptical and began to look at it only from the absence of any other options. What was going on in my mind after a few minutes of the movie? Wow! Yes, it's fire! - those are the thoughts. And they got stronger every minute...
Let me explain something. The genius of this film lies in the fact that the director managed to make a very sharp comedy with a very specific humor from an absolutely banal plot. By the way, the brain from the first minutes will have to be sent to free float, otherwise you will not catch the fullness of the madness that will be happening on the screen. A little chase, a little shootout, a bad guy and a couple of funny “idiots” trying to cope with self-esteem – all you need for a picture that brightens your gray everyday life. And there is also a bonus! – the film is very easy to perceive, and some moments I want to rewind and watch again!
Outcome: Since the time of “Cops in Deep Reserve”, perhaps the first picture in the same spirit, has long been looking for such a film and found everyone a pleasant viewing!
9 out of 10
Brothers McDonagh not jokingly entertain the audience with their sophisticated cynical humor films, and after the triumphant "Golgotha" from John Michael expectations were quite high. And now "War against all" was born, and we can safely draw several conclusions.
First, both brothers and individually, both directors progress, new production formulas, scripts and actors. John Michael McDonagh decided not to invite in the film Brendan Gleeson, who with his excellent acting gave great credit to the director, but more than sure, their duo took only a pause, and in order to limit themselves from template, the decision, I believe, is more than right.
Secondly, John Michael changed the genre, there is no tragicomedy "Golgotha", but on "Once Upon a Time in Ireland" the film did not become similar, "War against all" perfectly fits into the style of the director, but becomes a logical continuation of a rapid career. Cynical jokes on the subject of Irish, British, black, Latinos, Arabs, Americans - all this is another confirmation of the individuality of the director.
As a result, this is not the most extravagant film of the director, but a good example of the fact that McDonald does not lower the bar. I liked the role of Michael Peña, who already seemed to be stuck in the same type with his appearances in Hollywood, but in this film the actor managed to give an excellent role.
7 out of 10
As if there were two bad lieutenants, and they would be even worse.
Directors John Michael McDonagh and his brother Martin McDonagh have always been able to create colorful and interesting characters. So Martin is responsible for the creation of strong crime films “Lie low in Bruges” and “Seven psychopaths”, and his brother John – for “Once in Ireland” and “Golgotha”. John McDonagh decided this time to experiment and change the scene from Ireland to the United States.
The film takes place in New Mexico. The duo of cops, clearly copying the style of clothing of the notorious Kray brothers, engaged in any obscene in the spirit of “Bad Lieutenant”: drugs, intimidation of witnesses and the like. Bob Bolaño (Michael Peña), for example, imagines himself to be an intellectual, and his partner Terry Monroe (Alexander Skarsgård) is an ordinary villain. Vile, but wildly charismatic servants of order get into quite ordinary problems and try to find out what justice is after all, based on a single “household”.
The strength of the picture came out, of course, dialogue. This is the movie you need to watch in the original. Each of the characters, whether it is a bulldy Terry, a feminist – Bob’s wife, a postmodern villain-English or even an Irish informant, there is a whip quote.
The plot itself should also be noted. Apparently, McDonagh just spit on all conventions and began to shoot just what he wanted. And, importantly, he succeeded. The action famously jumps from the picturesque desert to ugly bars, from there to sports halls, then to stables and, oddly enough, even to Iceland. And the scenes in such strange scenes are in harmony with each other. Apparently, McDonagh was also inspired by police dramas and action movies of the 70s. This is felt, for example, in the style and presentation of the material.
Now for the flaws. First, War Against All clearly lacks the humanity and melancholy of the other McDonagh Brothers, so to speak. To move the scene in New Mexico was perhaps justified in terms of stylistics, but, it should be noted, sometimes everything looks extremely surreal and staged. I think if the film were to be moved to Ireland or anywhere else in Europe, it might even win. I’d have to give up a couple of good (read racist) jokes, but I don’t think it would be an irreparable loss for the script. It is also worth mentioning that the picture contains a large number of “Americanisms”. Some jokes can only be understood by people familiar with American culture.
Conclusion. While watching low-quality pornography, one of the secondary characters of War Against All aptly remarks: The main thing in this case is the script. There is no good scenario — consider nothing at all.” I think this comment can be safely attributed to this creation of McDonagh. I can’t say that this is his best work, but War Against All can definitely be recommended to all fans of crime films and black comedies.
7 out of 10
I was surprised to find that the last film of such a bright director as John Michael McDonagh here at Kinopoisk, at the time of writing this review, only one user review was written. I am in a hurry to restore such a severe injustice.
I watched the film during Britfest. To my great regret, the film was practically not advertised outside this festival in Russia, which is very sad, but perhaps can explain such a small hype.
All right.
Are you tired of women’s remakes, ubiquitous tolerance, sometimes reaching the point of absurdity and bans of Roskomnadzor? Then John Michael McDonagh is coming to you!
What is a “war against all”? This is absolutely unscrupulous, truly funny and original film, which certainly will not leave you indifferent. This is “Once Upon a Time in Ireland”, remade in the American way. For McDona there are no forbidden topics - race, religion, gender, English - all of them fall under the hot hand of the Irish director, subjected to the most natural banter, which is made so skillfully that it is difficult not to splash out in a wide smile, and sometimes frankly "beat".
At the same time, McDonagh, being McDonagh, does not descend to the level of toilet humor, which can sometimes also be very funny. Instead, he masterfully walks on the edge of a humorous razor, so much so that sometimes you wonder - will I not go to hell for this laughter?
The main storyline of “Wars Against All”, however, does not shine with originality – we have bad good cops, there is a main villain, there are assistants of the main characters and a girl in trouble – everything is like in traditional fairy tales. Nevertheless, this fairy tale is so seasoned with small details, so competently told and so deliciously served that everything looks in one breath and wonders why most other directors can not do the same.
Michael Peña and Alexander Scarasgard are such a Swedish-Latin cherry on this black humor cake. The character of Peña proves that not all Latin Americans are uneducated thieves of valiant American jobs, and the character of Skarsgård, despite all his shortcomings in the form of excessive drinking and not only, instantly falls in love with himself, revealing his most positive aspects.
All in all, War Against All is the perfect movie for a Friday night, or any other night, when you want to relax without feeling down. Jokes from it, most likely, will be remembered for a long time, a good mood will be ensured, and for a lady’s eye, plus everything there is Skarsgård (and a man also has something to look at).
P.S. Watching a movie in censorship is as sinful as watching it in censorship by Tarantino or Guy Ritchie.
8 out of 10
Good crime comedy in the best traditions of the genre
For fans of the genre of black comedy, the film is a must-see. Captures from the first minutes of the scene of the chase of the cops after the clown mime and holds until the very end. In the film, there are references to such masters of this genre as Quentin Tarantino (for example, the appearance of the iconic saber for reprisal, although not a katana), Guy Ritchie (theme of the British bohemian leading illegal business in the States), and of course John S. Baird (an analogy with his fresh still in memory picture “Dirty”). John Michael McDonagh has chosen these ingredients for his film, while remaining true to himself in the tradition of Once Upon a Time in Ireland. Magnificent directing, with genre-specific shooting techniques, a wonderful acting of the protagonist performed by Alexander Skarsgård and the juicy villainous image of Caleb Landry Jones (something reminded Malcolm McDowell of Clockwork Orange).
The film has both a spectacular part (action with fights, chases and shootouts) and a comedy, but what was pleasantly surprising is the intellectual part in the person of the main character’s partner (Michael Peña) and his stunning philosophical dialogues with his wife and Nerdovo comments throughout the action.
The only reason I put the film 9, not 10, is a kind of disorder of the plot (somewhere just lacked the dynamics), there was a feeling that this is a cutting of episodes from a serial film. The world invented by the author and such bright characters, all this could be used even more effectively (unfortunately, not all the characters were revealed, for example, 2 main villains). And yet, the picture is definitely worth seeing!
To write my opinion about this film, I was prompted by the fact that, I looked into the “criticism” and ran over the negative reviews about the film.
To begin with, this is not really a movie for everyone. This is evidenced by the estimates of IMDb, only 6.4 points with a pathetic 1218 voters. Personally, I explained this by the fact that “Western” viewers are too fed “Hollywood”. For a long time on the big screens do not appear original films, original, non-linear scripts. In "War" the viewer will not see the highly artistic text that formed the basis of the movie, no! But there will be no primitive, pop and banal development of the plot. The film develops independently, changing the geography and logic of the narrative. But that’s where his main advantage lies! It's interesting to watch!
As for the word pop, which I used above. I believe that modern Hollywood, in the weather after superprofits, makes universal films that can reach the widest possible audience. In each film, there is a heartfelt love story for girls and a heartbroken drama for their mothers, children, old people, the military, etc., etc. As a result, there is no target audience! The film should be liked by everyone, but no one likes it.
“War” has character, it has “eggs.” The film is made for fans of the work of Guy Ritchie and Tarantino, as leaders of the genre “Black Comedy”. The film has a lot of intricate dialogue, shooting, black humor and directorial techniques and retreats!
This film will appeal to those who have long been following the “correct translations”. Dmitry Puchkov (aka Goblin). And to watch it, by the way, is strictly recommended in its translation! Pukov personally for me has long been a sign of quality, because he takes only for a really interesting and non-banal movie!
This film is for those who liked “Once Upon a Time in Ireland”, “Pulp Fiction”, “Saints from Bundock”, “Seven Psychopaths”, “Big Scoop”, “Dirt”, etc.
The humor of the picture will not be available to everyone, because it does not lie on the surface. It's still "American," but not primitive. Heroes (contrary to what I read in the criticism) are quite self-sufficient and drawn. McDonagh doesn't tell their backstory or chew their identities for the viewer, he's just hinting. Conclusions come by themselves, if you look carefully.
Music also plays a huge role in this picture. It's quality and stylish. Each song sounds timely and not accidental. I'm looking forward to the soundtrack coming out and enjoying it again. .
The rating of “our viewer” (7.5 points at the time of writing the review) says a lot! Our, not narrow-minded viewer likes the film! It so happened that in the cinema I got to the “War” as part of a motley company, with completely different genre preferences and views on cinema. Everyone liked the movie!
P.C.
Once again, it is worth seeing in the translation of the goblin!
The picture of the Anglo-Irish director John Michael McDonagh was shown to the world back in February and made a real furor. The creator of the stunning “Once Upon a Time in Ireland” and “Golgotha” did not jump, squeezing the absolute maximum from the dark comedy genre. The main advantage of the picture was an incredibly competent selection of actors for both main and secondary roles. Finally, we were given the opportunity to appreciate the comedic talent Alexander Skarsgård, taking him as a partner of the magnificent Michael Peña ("Martian, Ant-Man, Patrol). The creators of the picture did not fail with their opposition, inviting the role of a perverted drug lord Theo James ("Divergent) and Caleb Landry Jones ("X-Men: First Class) to the vacancy of an extravagant gangster. Perfectly coped with his task and Tessa Thompson, known for Creed: the legacy of Rocky. It can still be seen in the next part of the Marvel epic “Thor”.
The most solid caste, especially for comedy, did its job. The cops, Terry Monroe (Skarsgård) and Bob Bolano (Penya) are both loud and subtle. Acting reincarnation is accompanied by a series of mind-blowing wits and jokes, some of which are very intellectual. Sitting down to watch a seemingly next friend movie about “bad cops”, the viewer is faced with a rare combination of confused narrative, beautiful plans and extraordinary comedy.
We are not only fully exposed to the character of each of the primary characters, but also given a look at their lives from the inside. We see that Bob is quite an exemplary father of the family, loving his children and wife. Terry, who seems to have nothing, is completely alone in his half-empty house with snow-white walls. When they break off in the service, rob and beat criminals (and sometimes colleagues), they do not think about morality. They have their own ideas about morality and things that really matter.
“Unprincipled Comedy” is not just an advertising slogan to attract an audience. The “war against all” is really at war against every scourge of modern society. The film cruelly and without regret ridicules all kinds of discrimination known to us, from racist to religious. The viewer will be checked more than once for the level of reading and intelligence in general: between jokes and thrasham, difficult metaphors and quotes of famous figures of the past skip every now and then.
Speaking directly about the plot, but not dipping into it, I will simply say: it is simple in structure, but unusual in narrative. The raisins of the picture are not in the events themselves, but in their figurants, the attitude of the characters to their own actions. It's a film that doesn't fear showing the Pozileans as stale as they are. In the film there is everything that love connoisseurs of creativity not only McDona, but also Tarantino - chases, shootouts, blood, muzzle, obscenity, a lot of undisguised truth, naked bodies and drinking. It will not do, however, without a dramatic line, which unexpectedly organically entered the plot.
Special thanks for the compositions of Glen Campbell, and in general the soundtrack was very pleased. The camera work is good, the plans are sometimes taken by surprise, the picture is very memorable. In the hall you can laugh to tears, and think, and admire. The duet of Alex and Michael has already been recognized by many connoisseurs as a new benchmark among the criminal comedy genre. We are shown friendship without sentiments, constant pannibrates and snot. Two reckless work partners do not leave each other and outside it, exchanging at the same time just the most smoky phrases.
You want to sincerely scold the drunken Sanya, beating the muzzles to the right and left - forward. Would you mind wanting the same chic gown Michael's character wears? Don't waste your time, go to the cash register.
The story of two corrupt police officers who work in a police department in New Mexico City. Who for their own profit are ready for anything. They are driven by drug use, a lot of drugs, alcohol, a lot of alcohol and debauchery. And one day, they come across one case from which they can get a great benefit for themselves, as much as 1,000,000 dollars. Who is going to receive this award?
Composition of the film
The director of the film John Michael McDonagh known for the film “Golgotha” and “Once Upon a Time in Ireland” these films turned out to be excellent.
Actors
Alexander Skarsgård and Michael Peña play operatives, they coped with the role excellent, this is probably the only plus of the film. Also the film starred the favorite of teenage films “Divergent” Theo James, who played the English rich lord, has nothing bad to say about him.
Opinion. The film did not turn out very well, many motives are not clear, which is strange for almost every third film that appears on the screen there is no motive for this. The chain of events of this film is far-fetched, and it feels like the writers were too lazy to think through the story. Ay, that's fine. A lot of black humor, from Muslims to the Irish. I don’t know what the director wanted to say with this film. The plot is banal and absurdly stupid, the characters of the film and including the antagonist are sometimes idiots. If you don’t watch the movie, you won’t lose anything. If you still want to see, then I advise you to watch in the correct translation from Dmitry Puchkov.
5 out of 10
The film is advertised as a stupid comedy about cops. It's just one of the layers. The picture is multi-layered and much deeper than it seems from the trailer or poster.
No, this is a bright and savory thing quite in the spirit of Quentin Tarantino. Not without mochilov and black humor, but with beautiful shots, interesting finds, high-quality intellectual jokes and absolutely serious thoughts about kindness, loneliness.
Some crazy mix of American comedy, action movie and European arthouse. The actors are on top of everything, the story is interesting, funny characters.
Skarsgård is beautiful, but as a woman I could not write anything else. His hero is sometimes blonde, in places deep and sad, like life itself.
In general, the unambiguous score.
This year, there were two big Buddy Movies. We all know this genre: two cops - two bosom friends investigate a case and confront the bad guys. Usually in such stories, the relationship of the characters is based on their opposites, most likely they have to work together only because of the circumstances, contrary to their wishes, but by the end they become a well-coordinated team. It was such an "old-fashioned" detective with comedy elements that Shane Black's "Good Fellas" was. This film was a tribute to the genre, at the same time following its canons and playing the old plot in a new way. "War" works differently. The film is not a detective at all, and it can not be said that it turns the canons of the genre or ridicules its cliché, it does everything at once. In place of good, bad cops come bad and bad, attractive scumbags who know no boundaries, do not do their job at all, take every bribe they are offered, without any hesitation, engaged in blackmail and the use of confiscated drugs.
This pair seems to be from a parallel universe, and I want to note the excellent performance of the actors who played the main roles. They don’t just look organic, they’re inseparable from each other. Their characters are not devoid of depth. John Michael McDonagh has already shown in previous films ("Once Upon a Time in Ireland", "Golgotha") that he can create multifaceted and ambiguous characters, comic from the external point of view and at the same time carry a deep drama inside. Therefore, I consider Terry (Alexander Skarsgård) the main character of the film, we do not reveal his tragic past (as it was in “Boys”), which explains his behavior, we are given only leads, hints of something terrible that transformed him psychologically and physically. At the same time, the film remains incredibly funny, the hall was filled with hysterical laughter throughout the timekeeping. It’s worth noting, for the uninitiated, that the humor in the McDonagh brothers’ films is the blackest, and if you’re embarrassed when a movie makes you laugh at something that goes beyond morals, then this movie isn’t for you.
The plot construction is very similar to the previous works of John Michael, it quickly becomes noticeable if you have seen the previous films of the director-writer. I'm talking about the sense of separation of scenes, the absence of the classical snowball effect, where each subsequent scene serves to increase the conflict, each choice is more fateful, each obstacle is more difficult. McDona's scenes just go one by one, whether it's scenes of conversations with each of the parishioners in "Golgotha" or the sluggish investigation (or lack thereof?) into "once in Ireland" that inevitably leads to a climax anyway. In his films, there is a feeling that the heroes’ victory is actually easily achievable, but they prefer to go with the flow, providing minimal resistance to the environment, for personal reasons (whether it is the fatigue and indifference of Sergeant Boyle, faith in people and the humility of Father James or the corruption and irresponsibility of Terry and Bob). Thus, “War Against All” is a set of homerically funny scenes with the participation of the main characters, which are so interesting to watch that there is a feeling of longing when you realize that the film is nearing completion.
9 out of 10
In the third film of the Irish director John Michael McDonagh “War against all” – all the same craving to find the unexpected in the usual clichés and to show the usual, passing in general history in a new for the public perspective. This time, McDonn is tearing apart the famous on-screen bundle "good cop - bad cop." In "War Against All," both cops are mind-blowingly bad, and they are clearly not set as examples in police academies. But McDonagh would not have been McDonagh if he had not managed to build this strange story about one not the biggest robbery as a constant game against the rules and give the viewer the right to the final placement of accents in the evaluation of events and characters. “War Against All” is built precisely as a grinding unprincipled police comedy stuffed with everything that has to do with the ridiculous.
In the on-screen bundle quite homely and talking with his wife about feminism Terry (Michael Peña) and not getting off a glass of Bob (Alexander Skarsgård) there are no restrictions. These guys embody the director's "no" on the screen. "War against all" without brakes, significant pauses, political correctness, decency, respect for the law and race. Most importantly, there is practically no morality in the tape. McDonagh masterfully shot the film with a mind-bogglingly high level of unblinkered freedom, the freedom that the director talks about as honestly as possible and without the desire to like specifically.
The heroes of “War Against All” are cops with a shot down sight: they take drugs from drug dealers (what only stands the initial scene with a running mime!), snatch money from the criminal, punch in the face to the right and left. “Let’s go beat up” is not quite a standard working wording for the American representative of law and order. Terry and Bob are real friends, they are crazy, inventive and devoid of self-preservation. Work for them is just a way to let off steam in life, have fun, sniff a couple of tracks of confiscated cocaine and fly to Iceland in search of an indebted nigger. For such cops and the law is not a decree.
In fairness, it is worth noting that the tape would not have taken place without the dialogue of McDonagh. In War Against All, everyone has their own front, so the film can be a source of cynical quotes to justify, characterize, and survive in any environment. The picture is replete with a huge number of colorful colorful near-criminal characters: ranging from the grass-court informant and ending with the glamoured lord-customer. The sentimental note is added by Terry's relationship with his well-read intellectual wife Dolores (Stefani Sigman) and Bob's desire to establish something similar to family life with Jackie (Tessa Thompson). Finally, the script foundation is fixed by the line of revenge on Lord Mangan, when the cash sum suddenly recedes into the background.
I will add that “War Against All” is the on-screen embodiment of McDonagh’s creative credo, demonstrating not only the director’s on-screen freedom, but also a sense of proportion that can accurately separate freedom from permissiveness. Did the movie succeed? Of course, yes, and this is primarily due to the desire to sit on the spring of the plot and get your share of laughter without limits. And the predictable flaws in the form of a traditional ending do not reduce the high degree of this wonderful in all respects film. To watch, laugh and rejoice at the third coming of McDonagh.
8 out of 10