The “fun” thing about transitioning to a “Do almost every movie I see” model of reviewing to a “Do it when I feel like it” model is it let’s me wax poetic about movies I actually have something to say about. Now that doesn’t mean I’m going to write anything transcendent or meaningful.
I’m just free to come and go as I please. Can’t promise that’ll translate to “better” posts all in all, but you may notice I am a bit more upbeat when I put them out.
Who really cares?
Free Fire is a movie that’s been on my radar for almost a year now. I caught the trailer at a screening of Swiss Army Man (another A24 release) but there was no release date attached at that point. I guess it would be fair to say I keep my eye out for the A24 logo on just about anything really to be honest. A lot of that goes hand-in-hand with their remarkable track record, particularly in the low key genre films the studio distributes.
It must be said that I don’t think there is a company out there continually distributing mini-genre masterpieces at the same frequency as A24. I mean let’s look at some of their picks: Under the Skin, The Rover, Ex Machina, Slow West, Mississippi Grind, The Witch, Green Room, The Monster and The Blackcoat’s Daughter to name just a few. And those are just what I’d consider their genre films. Least we forget they’re also behind bringing Room and Moonlight to the masses.
So it could almost go without saying that I was hoping for another home run with Free Fire, given not only A24’s interest in it and it’s brilliantly simple “I can’t believe this hasn’t been made before” premise but also the involvement of writer/director Ben Wheatley and just about every name listed in the cast. Having Martin Scorsese on as a producer only sweetened the pot as it were.
It may even be fair to say this paralleled my excitement levels for The Last Jedi, if not even surpassing it.
So was the hype met? Does A24 have another genre classic on their hands?
Unfortunately it falls a pretty sizable distance from of something I’d consider iconic. HOWEVER it is a ton of fun and a movie I could definitely foresee becoming a cult classic within a few years, played at 1 a.m. in dorm rooms around the country, the smell of herbal substances and Cheetos hanging in the air. And this is by no means a shot at the film. In a way I think that’s what it was going for. The plot never gets all that complicated and our characters aren’t exactly the most complex. What you see is what you get, and for what it is, it works.
“Set in Boston in 1978, a meeting in a deserted warehouse between two gangs turns into a shootout and a game of survival.” – IMDb.com
You look at bands like Cream or the Wu-Tang Clan; groups that made of considerable talent, with each individual member being a star in their own right.
Much can be said about the cast of Free Fire.
We have Brie Larson for starters, who at 27 already has a much-deserved Academy Award. Props to Larson for not just cashing in, but continuing to strengthen her resume with massive blockbusters while still allowing herself to get her hands dirty with smaller films like this. She’s an actress I hope stays interesting as her career continues and even though she already has an Oscar, I hope we are far away from seeing her peak.
Then you fill in the gaps with the likes of Shartlo Copley, Cillian Murphy and Armie Hammer. All three of those guys are movie stars, turning in consistently solid work regardless of the quality of the project they’re in. Copley in particular is an actor who feels as if he should be on the A-list but opts to go for weirder, more memorable genre roles.
There’s handful of up-and-comers mixed with long-standing favorite character actors too. Standing alongside our marque talent we’ve got the MVP of last year’s Sing Street, Jack Reynor as well as Babou Ceesay, Enzo Cilenti, Sam Riley and Noah Taylor.
And who could forget Michael Smiley, or as he’s known in this household…
Possibly my absolute favorite thing about Free Fire outside of the bullet-ridden lunacy is that Wheatley doesn’t subject our lower-tier names to the sidelines. They’re placed forefront and center right alongside everyone else.
I am in no way accusing any one on this film of having an ego; this isn’t a Fast & the Furious movie. That’s a movie with stars, each with a contract I assume requires a certain allotted amount of screen-time, citing who gets to punch who and which person wins which fight.
I keep emphasizing this group effort because too often we see movies with large casts but they typically serve mainly to elevate one or two within the pool. There’s nothing inherently wrong with this mind you. I just truly appreciated how this movie didn’t have a star (singular); it has stars (plural). All our guys (and girl) feel equally integral to the story and they all elevate scenes rather than steal them.
In a movie like this, there isn’t a need for lengthy character development. Our cast of miscreants aren’t exactly the most lovable crayons in the box, if you catch my meaning. Setting the film in the 1970’s was another nice touch as it makes them think outside the box in terms of getting out of the shootout, providing at least the bare minimum of tension given they don’t have cell phone access.
It’s a very silly movie with each of our characters serving as bullet sponges before they finally go down. For what that’s worth, I think that worked fine here for the most part. Sure, that kind of alleviates some the tension, knowing that your characters can’t really die at any moment instead straddling the suspension of disbelief as they take more and more damage without immediately bleeding out.
This serviced the black, sort of wacky tone for me however, and I don’t think Wheatley and company were seeking any form of higher truth when crafting this movie. I could be wrong, but a movie like this isn’t going to solve many problems outside of entertaining you.And it does help that they DO actually seem to take damage with each hit, something I’ve harped on in the past.
I guess that leads me to Wheatley himself. It’s been said many times before, but there is absolutely no consistency between this man’s films and I’m not referring to the quality. He may just be the most prolific director we have working right now. On the whole, I generally think most of his output is pretty damn spectacular. No, I’m speaking to the fact that all of his movies are widely different in terms of tone, look, approach, themes, etc. If you go in blind with no information provided as to what the connection is, you may be hard-pressed to determine what exactly the link is if forced to watch his library back-to-back. For example his last film, High Rise, dealt with big, lofty science fiction ideas. Where that film felt like Wheatley striving for Kubrick, Free Fire is his best take on Tarantino. The ending, in and off itself, might as well be a director nod to Reservoir Dogs and warehouse setting. Although this movie is much more violent and much less cruel.
Representing his first straight up foray into action, Wheatley does his best to keep the camera comprehensible before the bullets start zipping every which way. However, and somewhat disappointingly, he lacks the finesse of a John Woo. Free Fire is more akin to a sloppy game of paintball with live rounds than a carefully orchestrated bullet opera.
Still, I guess some confusion keeps in tune with carelessness of our characters, who can’t even always remember who’s shot whom or which side to which they fall. Credit again to the uniformity of the stellar cast for keeping things light and falling perfectly in line with Wheatley’s black-comedic sensibilities, particularly Copley who may just represent a made in heaven actor-to-director match up Wheatley could draw upon for his future endeavors.
I think if I were to point to any sort substantial criticism to the flick, I’d say it lacks sequences. What I mean by that is I remember a handful of quick moments and lines, but the second half of this film is what equates to an extended action sequence. There’s not really any downtime and that sequence is largely made up of the following: characters shoot at each other for a bit mixed with some quips, the recover, change places and then shoot at each other again. Rinse and repeat about 10 or 20 more times. I’ll stress that the only point this kind of becomes monotonous is during the middle chapter where the threat of a sniper (or snipers?!) brings the momentum to an almost screeching halt as our characters are actually pinned down.
Wheatley’s prolific nature also serves as a double-edged sword as the film kind of lacks a director’s unique voice, something I was kind of hoping for.
I mentioned earlier how Wheatley likes to venture into new territory with each new film, which is all fine and well but that also means he lacks a definitive style. Compare this to other directors at (what I’d consider) Wheatley’s “precipice of mainstream” level like Jeremy Saulnier. Free Fire certainly has personality but its the personality of directors that influenced Wheatley, not Wheatley taking the proverbial baton and putting his own spin on it. At leas that’s how I interpreted it because, as I’ve said, I don’t really have handle on what Wheately’s voice is exactly.
So Free Fire may not have blown my hair back in the way I wanted it to, but I still had plenty of fun watching it so in that it was successful. It’s something I’d fit in the category of “Hey gang! It’s 2 a.m. and we’re drunk. Let’s put on a movie.” And as far as I’m concerned, the world could always use more movies like that.