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Dragged Across Concrete

Dragged Across Concrete

2019
Drama
Crime
2h 39m
Your probable score
Avg Percentile 60.01% from 595 total ratings

Ratings & Reviews

(595)
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Rated 24 Mar 2019
90
92nd
I will follow Zahler into any depraved pit of cinema filth he leads me to.
Rated 27 Mar 2019
75
84th
Zahler has developed the talent to be simultaneously over-the-top and grounded in reality, politically incorrect and woke all at once. He can get gratingly hyperbolic here and there, but most of the time his ironic sense of humor manages not to encroach on the gravity of the ruthless violence he depicts. "Dragged" is like Tarantino for grownups. Extremely gritty, directed with finesse (if very little subtlety) and supremely acted. The casting of Mel Gibson as a racist cop is inspired.
Rated 07 Jun 2020
65
71st
This film is set up through its inserted talking points as a rejection (or at least a complication) of the politics of guilt (concerning US racial politics etc.), yet it in fact repeats the same sacrificial structure as BRAWL IN CELL BLOCK 99: in a dark universe, even well-meaning husbands and fathers do bad things, and the only way for them truly to redeem themselves is to leave a pot of gold while themselves withdrawing into nonexistence. Good black sons with crippled brothers can live. Guilt!
Rated 11 Feb 2020
65
45th
Grand Theft Auto: Mametville
Rated 19 Jan 2020
84
80th
While it's pretty acceptable for films to play systemic race, class, and gender concerns straight, they all forget what this film takes for granted: it's systemic. Understood. Normalized. As tired and cliche as the next inevitable cop beating video you can't do anything about. The fatalism and misanthropy creates this scene around the mid-way point that would be tasteless if it weren't so fucking daring. The last half is pure cinema, as imagined by one of those cops in the viral videos.
Rated 02 Apr 2019
98
97th
The entire third act is near-unbearably tense. I felt like I was going to have a heart attack, cry, fist pump, throw-up, and shout "fuck yeah" all at the same time. Video Essay: https://youtu.be/gff9oqQm5rg
Rated 08 Feb 2022
70
65th
Spoilers ahead. I'd like to discuss the role of Jennifer Carpenter, who is given an additional ten minutes of screen time only to add gravitas to her untimely (untimely? I didn't write the character) death. Look, Austin Powers murdered this with a deleted scene showing the henchmen's family getting a call to let them know that henchman daddy was killed at work. This scene was not deemed good enough to make the cut in a comedy. During a long runtime like this I find it wholly unacceptable.
Rated 22 Mar 2019
85
92nd
This is a slow paced, but wild movie filled with super entertaining banter between Gibson and Vaughn and a second half that unfolds like a slow, ingenious game of violent chess. The decision to leave this movie unscored was a fantastic one and more directors should muster up the courage and conviction to do so.
Rated 26 Mar 2019
85
95th
Some unnecessary digs at "snowflakes" notwithstanding, this supposed right-wing film features the most searing account of a capitalist wasteland imaginable: everybody is prey to money, for reasons good, bad, or vile. Zahler has become a bedrock force of eerie fatalism. His wonderful, darkly humorous dialogue echoes empty in a hall of quiet brutality. So the title is apt, as would be James McMurtry's song "We Can't Make It Here".
Rated 10 Jul 2020
80
80th
Though it was slow, the extreme length allowed for me to get to know the characters on top of seeing some extremely gory action. In hindsight, there was a lot of the film that could have been cut out without changing the story, but all of that felt so right while watching it.
Rated 07 May 2020
77
64th
Zahler's brand of violence and brutality should be taken with caution. I have a feeling that I would not get along with the director, but he does make daring films that scratch a certain itch. This paced crime-drama isn't all gold, as I cannot fathom why he needed to paint his villains with such a menacing, broad brush. Jennifer Carpenter is done dirty in this film and it feels sadistic as the audience already knew that these guys were bad. Still, this is a pretty unforgettable film.
Rated 22 May 2019
80
85th
So mellow, cruel and mundane slow-burner about late capitalist rules falling apart and actually serving those who dear to thrive through hell in order to change their lives. So many great stuff here: best stakeouts ever, funny and subtle comedy bits in car rides, such a pulpy and yet humane ending. And also the brilliant score and soundtrack.
Rated 30 Mar 2019
72
81st
good movie
Rated 23 Mar 2019
98
95th
Outstanding crime drama hits essentially the same story beats you would find in any typical brawny actioner, but Zahler's fascinatingly languid storytelling style, carefully establishing character and motivation for the first two acts, before tightening to one of the most suspenseful, hard edged (and exciting) third acts in recent memory, is marvellous, with a haunting, near career-best performance from Gibson the bedrock. Terrific framing and recurring use of two-shots used to great effect.
Rated 12 Oct 2019
85
74th
Zahler's style is a growing favourite for me. Violently instrumental and I love the deprived feeling from any unordinary dialogue. So worth it.
Rated 28 Mar 2019
80
72nd
Zahler's most dynamic work yet. I'm continually impressed with how dangerous he makes his villains feel. I was tense for about the last full hour of this thing. *Some bad dialogue to get through to start, and you can skip the epilogue entirely.
Rated 10 Oct 2018
60
33rd
all i wanted was for Zahler to fix his exposure settings and white balance from BRAWL IN CELL BLOCK 99 - he did
Rated 25 Dec 2021
70
75th
A pretty good crime drama that started really weak but got better as it went on.
Rated 20 Feb 2021
80
89th
I liked this a lot, and I wanted to like it even more. A rare combination of silence, anticipation and thrills.
Rated 18 Dec 2019
68
82nd
(WRAPPED IN PLASTIC)
Rated 14 Feb 2020
39
5th
Waste of time.
Rated 24 Apr 2019
65
72nd
In hindsight I loved this. Admittedly very long, but the length is not felt at all. The off-key feel of the film, its collected quirkiness, the tension, the memorable characters and artistic shots create a feeling of excitement of what's to follow in every scene. The film is unpredictable, it is not afriad to challenge some of the established norms and traditions - both in Hollywood and in general culture - and Mel Gibson, Vince Vaughn and the whole support cast deliver. /c Cineworld Wandsworth
Rated 21 Dec 2021
90
52nd
Love this director's style. This one has less gory violence, which was just fine with me. Gibson and Vaughn were great.
Rated 13 May 2019
55
39th
A solid Gibson performance. I kind of liked the repartees between the leads in their first couple of scenes together, so I thought that the movie would hit a sweet spot for me, but I actually rather quickly grew frustrated with Zahler's very peculiarly written lines.
Rated 24 Mar 2019
76
48th
I enjoy the admittedly bloated pace of Zahler’s aesthetic, despite the over-written dialogue and other indulgences. Requires the theater setting (rewatching BiCB99 via streaming was near impossible) for it to be consumable as a whole. Vaughn is still improving as an actor and most the characters are relatively flat. But there’s a JP Melville quality that I can enjoy. Combined with pulpy exploitation and ultra violence - a unique vision. Maybe my fav Gibson performance.
Rated 01 Aug 2023
54
51st
No Country for Old Mel
Rated 24 Mar 2019
90
93rd
They did everything to keep people away, long run-time, title from hell, cast a lightning rod like Mel Gibson. But it's a complex guy-flick that has a lot of clever low key humor running through it, a killer cast--including Gibson, and Vaughn who finally set his bar a little higher, and a unique story line, of which you're never really sure where it's going. It come off as a tragedy but it isn't what I'd call a downer. Politics somewhat right of center. Fictitious town of Bulwark in Vancouver BC
Rated 02 Jan 2021
75
83rd
Mel Gibson'dan çılgın ama durgun polisiye. 6 ay uzaklaştırma alan 2 polis, suçluların parasını çalmak için plan kurarlar. Ağır temposu, uzun diyalogları, suç senaryosu ve oyuncuların harika ruh halleri ilgiyle izletiyor. Filmin sonunda, 1 saat süren 1 çatışma sahnesi var. Ölenler olduğu kadar kurtulan da var. Şunun fiyatı ne kadar? 5000 USD. Kurşun geçirmez mi?
Rated 03 Jun 2022
75
56th
Brutal and funny. Loved the Mel Gibson and Vince Vaughn duo. Some odd choices and the last 10 min probably could've been cut, but still very much a fun ride.
Rated 16 Nov 2022
76
75th
It dragged on in a few places and certainly could have been sped up some places, but as far as crime and heist stories go, this hit all the notes just right. The bleakness of it, the double-crossing, the brutality, the way in which it affects so many people, the cast, it was all good. It doesn't need to make big gestures to push in the point, but rather relishes in the raw reality of what happens when you're hearing someone die next to you, with their lungs rattling with every breath they take.
Rated 10 Apr 2023
70
42nd
I really need to see any more of this man's work. There's a lot of details in this film that I think make it pretty clear that Zahler feels substantially the same way that his main characters do about many things. It's sitting right there on the surface of his film, and I don't really need to spend my time this way.
Rated 21 Jun 2020
10
1st
What is Mel Gibson doing in this trash?
Rated 07 May 2023
30
17th
Huh... it appears that a lot of people experienced this as some sort of serious statement on, well, all sorts of things. I just saw this as a MUCH too long, badly-paced crime flick with mediocre writing. It did have a certain strong visual style that suggested a dystopian society, but also served to gut the "characters" of most of their humanity and give them a cartoon-ish quality.
Rated 10 Apr 2020
56
34th
This movie is slow as hell, the last third of the movie is the most interesting part as there is something of greater intrigue going on. I wasn't engaged with much of this and by the end I feel like it partially made up for the sleepwalked performances of the two leads and the sluggish pace. A very apt title to say the least.
Rated 22 Mar 2020
61
74th
The highs are really high, and the lows are really low. It has been eight months since I have seen it, and I find myself still thinking of some of its shocking moments. Despite the length, I want to see it again.
Rated 22 Mar 2024
72
47th
Should have been 90 minutes
Rated 03 Mar 2020
4
55th
SCZ's no country for old men, cept mel's been "scuffing concrete" too long to dream of a simpler world; all he wants is his piece. zahler doubles down here for good and ill, self-parodically calculated and edgy but a welcome respite from hyperactive hollywood, dwelling in the winding sentences between cracks of punctuative violence. the film is gibson's though, each expression and posture bristling with an entrenched scorn for those who, to quote chigurh, "second say the world".
Rated 12 Mar 2021
2
24th
S. Craig Zahler has become a parody of himself.
Rated 08 Feb 2020
82
44th
for a right mood i think. slowpaced with some action. feels raw as almost no soundscapes...probably a feature for it to look more 'authentic'.
Rated 08 May 2021
70
23rd
Long and pointless? I can't say it was bad but it wasn't good either. The %/anchovies thing is not endearing. People are right to point out that lack of money for healthcare is a thing here, but 'gritty' men shooting each other doesn't solve that problem. Could have done with more humor, and more delight in hurting other people. If you're going to be evil, enjoy yourself.
Rated 13 Jul 2019
90
99th
Extremely intense final act. Perfect but unusual slow pacing, focused and well edited brutal violence.
Rated 18 Sep 2022
67
67th
Surprisingly decent. I couldn’t look away for long for the 150 min movie. A great long action shootout holds the tension.
Rated 19 Feb 2024
50
26th
Could have been written by Sylvester Stallone.
Rated 04 Apr 2019
70
70th
Slowburn with Zahler's usual sense of humor and explosive violence. Maybe a little lesser than his previous efforts but enjoyable none the less.
Rated 23 Mar 2019
65
48th
ağır tempolu bir aksiyon filmi olarak sınırlı bir başarıyla da olsa işliyor. zahler'in önceki işlerinde de var olan fazla zorlama gelen diyaloglar, kağıt üzerinde işler gözüken ama nihayetinde sakil duran sahneler ciddi ölçüde hasar vermese ortaya çok daha lezzetli bir suç filmi çıkabilirmiş. her karakterin "aman allahım bu nasıl hayat" durumu da ham hikayeyi derinleştirmekten ziyade parodileştiriyor sanki.
Rated 23 Mar 2019
60
10th
I enjoyed Zahler's previous two films but I think I only like this on paper. A slow, deliberate, grueling heist movie about two disgraced loser cops, punctuated by Zahler's trademark gruesome violence sounds good at least. Unfortunately it plays out far too slowly (two and a half hours is absurdly indulgent for something like this) and the filmmaking comes across as flat and dull rather than patient and deliberate like it should. Not bad but a disappointing follow-up to his previous films.
Rated 23 Mar 2019
75
74th
Glad movies like this still get made. 70s vibe. Some issues here but overall v good. Need to rewatch soon might be scoring too low. Hope zahler stays productive
Rated 25 Mar 2019
73
65th
I preferred Cell Block and Bone Tomahawk, but it's still a must watch if you liked those two.
Rated 05 Apr 2019
4
70th
I wish Zahler was content to let the quality of his work do the talking, instead of trying so hard (and try-hard it is) to rankle his viewers' empathetic sensibilities. Whether endorsement or depiction, the racism on display here is more boring than anything; I'd respect him more if he managed to get a rise out of me. Fortunately, it doesn't feature as heavily in the film as it does in the criticism, and this is ultimately another goddamn fine, slow-burn genre film of which we need many more.
Rated 14 Apr 2019
85
83rd
Gerçek gerilim. Kast olağanüstü. Yönetmenin bir sonraki filmini iple çekiyorum.
Rated 17 Apr 2019
91
93rd
Evoking the title (in mood, not literally), this is a far more measured and lengthy cop film than others. The pacing pays off, not only for conveying the boredom of stake-outs without being boring, but for involving the viewer so empathetically into the financially stressed situations of the three leads. The ending (elongated) shoot-out is refreshingly sparse, each shot stages the very precise action so perfectly, as the inner-city struggles between cops and robbers quietly surface.
Rated 19 May 2019
59
49th
Virgem.
Rated 10 Feb 2020
78
91st
Tense, mean, and highly entertaining. Loses momentum the final 20 minutes but this is often downright brilliant.
Rated 17 Jul 2019
85
80th
It's incredibly slow but sometimes these really slow movies come out where there's something endearing/magical about the way that it so unapologetically lends itself to the pacing, like The American years ago. This fits into that. I never knew what was going to happen, the third act (as noted by someone else) is tense, and also just very deliberate feeling, refreshing. Vaughn and Gibson are great together. The dialogue's style doesn't work all the time, occasionally feeling overwritten.
Rated 06 Aug 2019
65
54th
I'm still not quite sure if Zahler is a genuinely great filmmaker or not. I guess he's good, because he does make entertaining films, but I don't know if there's much artistic merit here. It's a slow burn, but there's plenty of good tension towards the end. I thought Mel Gibson was better than I've seen him in a very long time. Definitely some good scenes but also some very pretentious dialogue. Worth watching.
Rated 01 Nov 2020
1
8th
Rated 18 Jan 2020
60
35th
Zahler is an accomplished director, but the standard of his writing has dipped dramatically here. The script is full of dialogue that's meant to be funny and smart but is rarely either, and it drags the performances down. The social commentary is too heavy handed to be effective, and most of the attempts at characterization only serve to make the running time far too long for what the movie is. The third act is well done but overall this is not up to the standard of his previous films.
Rated 29 Sep 2019
66
53rd
An unsatisfying ending, but a decent film
Rated 29 Nov 2019
65
32nd
B-
Rated 07 Dec 2019
68
66th
Solid genre exercise that is let down by overlength, some overwritten dialogue and a few poorly judged scenes of over the top violence, which don't have the same impact as they had in Bone and Brawl. Zahler spends far too much time establishing characters that aren't sufficiently developed, but the stakeout scenes feel more authentic than usual, especially in their use of time, and the 3rd act is tense and really well staged. Gibson also does his best work in years as an aging racist cop.
Rated 13 Jan 2020
75
46th
The first hour or so is unbearably slow with some unnecessarily bad political takes. Everything after that is some damn fine filmmaking. Easily Mel Gibson's best movie in years.
Rated 03 Jun 2020
90
91st
Under Quarantine Film Reviews #115: Dragged Across Concrete has no right to be as good as it is, its incredibly long, slow pacing, questionable protagonists, Mel Gibson, surreal dark humor, multiple stakeouts, and brutal violence but it works. It all works and it's glorious.
Rated 27 Jan 2020
45
35th
Maybe if they cut away a bit of the dialogue it would have been an easier watch. However as it is, it's way to long and I had a hard time staying engaged even though I normally enjoy these gritty films with Mel Gibson.

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