In Brawl in Cell Block 99, Vince Vaughn plays Bradley Thomas, a
recovered alcoholic and former drug courier.
After getting fired from his job and with his marriage on the rocks, he
returns to the life of drug dealing, believing that it’s the only recourse left
for him. Months later, he and his wife
(Jennifer Carpenter) are living in a better, more expensive home, and are expecting
a child. All is going well for Bradley,
until a shipment pickup goes sideways.
He’s caught by the police, sentenced, and thrown to jail. At first, his plan is to patiently serve his time,
looking forward to rejoin his family. Unfortunately,
that won’t be the case, as he’s forced to perform a series of violent acts,
culminating into one vicious brawl.
I like Vince Vaughn. He’s great in doing both comedic and serious
roles, and I think he has what it takes to win an Oscar. With this mind, Brawl in Cell Block 99 could be his most definitive movie yet – the movie he’ll be best known for. He’s fantastic here. His acting impeccably realized his character –
an intimidating, determined exterior with a tormented, struggling interior.
Brawl in Cell Block 99 is basically channeling old-school
grindhouse action films. Thus, it
displays unrestrained, brutal action sequences that are extremely gratifying to
watch. However, the film takes its time
getting at these parts. It patiently
peels off the main character and sets up his situation. As a result, the slow-pace and long runtime make
the film feel tedious sometimes.
Moreover, there are moments where the gore looks
mostly fake. There’s even one scene
where a man is shot at, and it’s pretty obvious that it’s a mannequin. But I feel this isn’t really a mistake. Again, the film is trying to be the
grindhouse films of old, and those films are known for their blatantly fake
practical effects. Thus, it’s likely that
the use of mannequin and such are deliberate – stylistic choices of director S.
Craig Zahler.
In the end, Brawl in Cell Block 99 is a badass, entertaining film. Anchored on Vince Vaughn’s compelling and nuanced
performance, it delivers a gritty, violent prison drama that contains the appeal
of an exploitation film and the chic of arthouse.
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