Directed by Ben Wheatley
A crime drama set in 1970s Boston, about a gun sale which goes wrong.
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★★★★ review by Lucy on Letterboxd
almost as unraveling and incoherent as high rise, only more compressed and much more satisfying. does for guns what mad max fury road did for cars
and A24 + brie larson remain maybe my new favorite cinematic collaboration
★★★★ review by Evan on Letterboxd
TIFF 2016 Film #23
If you would have told me a Ben Wheatley film would be one of my favorite films from TIFF, I'd give you this look. Wheatley's filmography that I've seen hasn't exactly worked out for me. But Free Fire is a different story. I pretty much loved this movie! Between the great cast, the hilarious banter between characters, and the crisp gun fights I had a blast!
The cast is seriously awesome; they're all so funny. Especially Sharlto Copley. He was absolute gold in this film. This is the first time I've liked Armie Hammer since The Social Network. I really loved Brie Larson! I've never seen her do a role like this, and it turned out to be awesome!
I might have to go back and give Sightseers and High-Rise another chance.
Also, can we all just admire how awesome this poster is?
★★★½ review by Andre de Nervaux on Letterboxd
1970s style brie larson? yep she's hot
★★★½ review by Luke on Letterboxd
I would've taken every single one of those bullets for Brie Larson. Know that.
★★★★ review by Jonathan White on Letterboxd
Reason for pick – Lise for some reason won’t give up on Wheatley. ( it paid off this time )
Free Fire is simply a glorious riot.
Out of the gate, while the stylish credits role, it has the tone of Tarantino, and what follows is akin to Kill Bill’s 20 minute fight scene, except with badly aimed bullets and four times the length. This is a film that firmly believes that it’s really difficult to get wounded to death, except for the inevitable septic shock that apparently happens in one hour and thirty .. conveniently the runtime of the film. (Apparently you can don cardboard to protect against such a fate )
Laughs are hearty and frequent; smart and sometimes dumb – but never base. Somehow the running (then limping, then crawling) between places of safety never seems to wear out its welcome. Pulling something like this off credits Ben Wheatley’s abilities to control pace and timing and wrap it with witty dialogue with the net result of keeping the audience engaged when there’s nothing much else going on than a dozen characters shooting at each while limited to a single set.
I knew I was going to love it, though, when at the beginning one of the characters was described as, in voice over, that he was mis-diagnosed as a child prodigy, and never got over it.
Also, probably the best use of John Denver in a movie soundtrack ever.
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