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Dragged Across Concrete

 (1,324)6.92 h 38 min2019X-Ray18
Dragged Across Concrete follows two police detectives who find themselves suspended when a video of their strong-arm tactics is leaked to the media. With little money and no options, the embittered policemen descend into the criminal underworld and find more than they wanted waiting in the shadows.
S. Craig Zahler
Mel GibsonVince VaughnDon Johnson
English [CC]
Audio Languages
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Supporting actors
Laurie HoldenJennifer Carpenter
Sefton FinchamJack HellerTyler Jackson
Content advisory
Alcohol usenudityfoul languagesexual contentviolence
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4.0 out of 5 stars

1324 global ratings

  1. 47% of reviews have 5 stars
  2. 21% of reviews have 4 stars
  3. 18% of reviews have 3 stars
  4. 7% of reviews have 2 stars
  5. 6% of reviews have 1 stars
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Top reviews from the United Kingdom

MAD DOGReviewed in the United Kingdom on 22 August 2019
4.0 out of 5 stars
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My no mistakes, Dragged Across Concrete is a film like no other. It makes no apologies, offers no answers and does not concern it's subject matter between right and wrong. And what a breath of fresh air that is. A film without a consciences, especially given this ridiculous PC do gooding world we live in now where it's pretty much illegal to be a man!

On the face of it, Dragged Across Concrete us nothing original. Two disgraced cops suspended from duty, with personal problems getting worse, they decide to commit a heist. Actually that sounds really dull. But it's not. It feels and is very original. But in a subtle way. But yet brutal and hard.

The movie is a slow burner, taking its time over every single scene and gesture, but somehow it feels like there is loads going on. And there is, but you have to look under the surface and take it all in because I promise you, it really pays off.

Mel Gibson is fantastic as an old school cop who has not changed or refused to change for 30 years on the force (his 80s mustache signifies this). In some ways he is like a cynical and grumpy Martin Riggs if the Lethal Weapon character was kept the same as the first film. Vince Vaughn does a decent job as Gibson's younger more positive partner, something I was not really looking forward to because Vaughn is normally someone I have no time for. But I get why he was cast with Gibson because if they teamed Gibson up with most other actors the film probably would have gone into buddy cop mode. What Vaughan does is to keep the film more grounded. Not that Gibson needed that as he brilliantly plays everything down. The rest of the cast are all superb, pretty much perfectly poised.

There is loads to like here with terrific performances, standout production design, and on occasion brutal and graphic violence. This is a film that Quentin Tarrintino SHOULD still be making and not his self indulgent pretentious rubbish these days.

If it was to have been more mainstream or alternativy cast (something I find fun to think about) then Dragged Across Concrete would have worked equally well with Kurt Russell, John Travolta and or Nicolas Cage.

Oh God I've just realised that I've done a sensible and mature film review. That's not acceptable so I'll finish off by saying.... bottom, fart, boobs, bum, willy, knob end.
67 people found this helpful
Hooper's CigarReviewed in the United Kingdom on 24 August 2019
2.0 out of 5 stars
Wedding Crashers 2: Nightmare in Blue
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Three movies into the 'cult' of director S. Craig Zahler and for me personally, I'm still not feelin' it. On the surface, his predilection for macho genre blending heroics would normally be right up my alley, but thus far I've been left cold following his debut 'Bone Tomahawk', the ludicrously titled 'Brawl in Cell Block 99' and now 'Dragged Across Concrete'. Even his screenplay-only foray into marionette mayhem with 'Puppet Master: The Littlest Reich' lacked the lunacy of its progenitor and resembled a warmed over microwave dinner, rather than the juicy, blood red steak it so clearly should have been. Anyway, I digress - onto the review...

When police officers Brett Ridgeman (Mel Gibson) and Anthony Lurasetti (Vince Vaughn) are suspended following a bout of rough 'n tumble with a hapless perp, they decide to take matters into their own hands. Ridgeman, an older cop with a disabled wife and bullied daughter alongside Lurasetti, much younger but constantly in turmoil if his longterm partner will marry him - hatch a plan to rob career criminal Lorentz Vogelmann (Thomas Kretschmann). However as with all best laid plans, things take a turn for the worse when Vogelmann's hit becomes bloody and the two cops (alongside hired get away drivers Henry (Tory Kittles) and Biscuit (Michael Jai White) become embroiled in the darkest night of their lives...

I really wanted to like this movie. Going in, its got all the right elements: Blistering lead performances from Gibson, Jai White and Kittles alongside a story that is ripe for tension and soul searching. However, a near 3-hour running time slow proceedings down to a mere crawl and at times I was hoping the film would kick into high gear; which sadly it doesn’t. Listen, I have no issue with long movies but they have to hold the attention and this failed to grab me - even with all the fine performances on show. Lead Gibson is solid and its his show all the way: Older and defined, he’s the old gunslinger in a Sam Pekinpah movie (which director Zahler obviously OD’ed on as a kid) and commands the screen whenever he’s there… which is a lot. Sadly, the usually reliable Vaughan barely registers in an underwritten role which basically has him either eating all the time or making sad face about his wedding plans… Thankfully, co-star Tory Kittles is a revelation and flanks Gibson in a solid two hander, making them the real ‘buddy duo’ of the piece. Michael Jai White is also excellent (as always for me) with a mere support role, but makes it his own. Witness his anxiety ridden performance when driving the van - its subtle, but for me he was the only character in the movie I could relate to and delivered the best performance in the movie. Director Zahler (like a certain Mr Tarantino) obviously wears his influences on his sleeve - but where that director celebrates his ‘rip-offery’ with exuberant set pieces and knowing winks to the audience, Zahler would rather bury it within dull monologues and re-worked genre flicks from days gone by (Jennifer Carpenter delivers a great piece of acting, but her cameo is pure offbeat ‘70s Euro crime-lite)…

StudioCanal’s UK blu-ray release grants the movie a very sharp transfer with bolstering audio alongside a set of extra features which cover the movie’s production, etc. All in all, its not a bad movie and some will find meaning in the pseudo depth of the characters and hackneyed screenplay, but for me it’s just another case of ‘seen it all before’ which may have do something with my age - so best to make the decision for yourself. Thumbs up for the cast (especially Michael Jai White and Tory Kittles) and a rather tense 5 minute get away sequence midway through (that is truly exciting) but thumbs down for the recycled screenplay and pretentious air of superiority that runs throughout the entire endeavour.
6 people found this helpful
rbmusicman/and/movie-fan'Reviewed in the United Kingdom on 23 August 2019
4.0 out of 5 stars
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After an op police officers/ partners Brett Ridgeman (Mel Gibson) and Anthony Lurasetti (Vince Vaughn)
working the streets of Bulwark become suspended without pay by their superior officer for using
excessive force during the op - which had been caught on camera.
Brett's wife, ill and no longer able to work means that during the suspension there will be no money
coming in, so, despite being a long-serving cop Brett calls in a favour from someone he knows who has
criminal connections.
Brett intends taking the ill-gotten gains from prospective robbers...he has begun to feel that after all
the years service he's got little to show for his loyalty, he lives in a rough part of town where even his
daughter suffers bullying from local yobs.
Meanwhile, ex-con Henry ( Tory Kittles) looking to improve things for himself and his family agree's to
become a co-getaway driver with his friend biscuit, unaware that the people he'd be working for were
brutal killers not to be trusted.
Well, with details of a proposed heist Brett along with Anthony steak-out the said starting point of the
proposed robbery
Anthony who is about to become engaged is at first wary of Brett's intent, but agree's to go along with it,
the target turns out to be a bank, after a brutal robbery the gang join their awaiting drivers to make their
Brett and Anthony who'd awaited the four robbers to emerge set out to follow the van which after a long
drive into the countryside reaches the checkpoint
This is where Brett and Henry's paths will cross, with a shootout inevitable will the now criminal cops get
their hands on the stolen gold bullion?
This is a gritty and sometimes brutal film, which, is perhaps a little slow at times and in my view predictable,
though it does hold your attention throughout, which is what makes it -
, Certainly worthy of a viewing.
Footnote - Most films I've seen featuring Vince Vaughn tends to be comedy, nice to see him in a more serious
5 people found this helpful
GTSReviewed in the United Kingdom on 11 January 2020
5.0 out of 5 stars
Genuinely a breath of fresh air in todays movie climate
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I'll just list it in rough bullet point style sentences.

Firstly this film is genuinely a good example of 'gritty' instead of 'trying to be' gritty. It isn't trying too hard unlike so many similar films which always gets boring very quickly.
It doesnt have a tone as if it was made by a board of share holders.
Characters actually talk like ... ACTUAL human beings and make decisions that make logical sense relating to their skill and experience.
Action scenes are incredibly tense, there is no music blasting over the top forcing you to feel suspense. Its all patiently paced so you can actually pay attention to what you're watching, no fast zippy jump cuts constantly.
Generally the acting is spot on across the board, Gibson's acting as usual is fantastic as an aged bitter Cop, one of the 'bad guys' sterile approach is cold hearted and incredibly intense to watch as he goes about his 'business'.
The pacing of the movie you could call 'slow burn' but it is incredibly captivating as things ramp up.

Generally I'd say if you enjoyed No Country for Old Men then there is definitely something for you here.
If you have a basic / small attention span and need a big franchise to hold your hand and explain everything for you then maybe give it a pass.
Personally I think its fantastic and am so surprised to have seen a movie like this come out in 2019!!
4 people found this helpful
Scrooge McDuckReviewed in the United Kingdom on 16 February 2020
3.0 out of 5 stars
Pulled slowly over astroturf
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The gritty cop-drama is a sub-genre that has been somewhat absent from the big screen over the last decade, despite every previous decade being littered with them. These days, such stories tend dominate the small screen, especially since the advent of streaming services, which has also resurrected many old shows and given sustained life to The Wire and The Shield. Few of them have the hammer-to-the-face heartlessness of this movie.

S. Craig Zahler is certainly making a name for himself, scoring three significant genre movies in a row with Bone Tomahawk, Brawl in Cell Block 99, and this. In my opinion, he has exceeded the early works of Tarantino and built his own unique trademark style without the forced pop-culture extractions. I hope he can maintain his voice without selling out to the studio system, which I feel will try to recruit and inhibit him soon based on the continuing strength of his work.

Gibson and Vaughn, play two jaded detectives in (not really) New York (shot in Vancouver) who are suspended without pay from duty for trivial reasons to pacify the PC police, who are their ever vigilant, and hypocritical, moral superiors. In need of money, they attempt to spirit away the cash from a forthcoming heist from a gang of beyond evil criminals and their hired help.

It's a very sparse plot, and it takes a long time to build and get going, but if you stick with it, the threads eventually tie together and climax in lots of gruesome, disturbing violence that really isn't for people who have been nurtured on the harmless action of modern blockbusters and endless superhero trash. Violence in the real world is ugly and damaging and this movie makes no apologies.

Shot digitally in 8K resolution with Zeiss Master Anamorphic lenses and edited in 4K, the photography is frequently stunning, with atmospheric lighting and atypical blocking in very wide framing. It's not quite film noir, though it looks far superior to most movies that overdo the post-production filtering. The median shot length is probably a lot higher than the average movie as Zahler usually sets up a master shot and a couple of alternates, cutting between them in long takes. No indulgence. No impatience. No anxiety. It's definitely my own preferred way of shooting and editing dialogue.

Absolutely not a movie to watch if you need cheering up, and it might move too slowly for most people. Lionsgate did not give it a wide release due to the running time and Zahler wasn't willing to surrender his right to final cut. It's so sad that the audience for this movie has been so narrow, but there could have been some compromise with its running time. Build an evening around it, endure the first hour and allow it to get a grip on you.
3 people found this helpful
DimitriReviewed in the United Kingdom on 08 November 2020
4.0 out of 5 stars
Gritty corrupt cop film
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I like films that dont just keep the characters alive because they are 'good' people. I like the fact that bad things happen to good and bad people in this film, thats life. Each character has at least some complexity to them and i love that it highlights social problems for groups not usually mentioned.

The acting is really top notch too, Gibson, Vaughn and Kittles do a great job especially Gibson. This film feels like its made by someone whos experienced life, real life, a life thats tough and unfair, like most people experience. Someone who understands that youve just got to do something sometimes and that honestly, money is the key to happiness in this world and youve got to make yours however you can.

Theres no virtue signalling, theres no sympathy expected for what Gibson and Vaughn do, they know they are on a mad spiral out of control and go along with it willingly, because they want fair compensation for the troubles lifes put them through. The exact same is true for Kittles character.

The negative reviews could be from those who only want to live in an echo chamber and who want their films to reinforce their ideas. This film doesnt do that, its raw, unfair and real.

Took a star off because the films 10/20 minutes too long, but really really worth a watch
2 people found this helpful
S. LornieReviewed in the United Kingdom on 07 October 2020
5.0 out of 5 stars
Tarantino, eat your heart out!
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After enjoying the heck out of Bone Tomahawk, I thought I'd check out the other movies from S. Craig Zahler. Whilst I'm waiting for Brawl In Cell Block 99, I took the time to check out this beauty, Dragged Across Concrete. A film that I can only describe as a movie Quentin Tarantino wishes he could make.

Dragged Across Concrete was initially released in early 2019, this was after it debuted at the Venice International Film Festival in September, 2018. The film is written and directed by the previously mentioned S. Craig Zahler. The film stars an aging Mel Gibson and a fairly round looking Vince Vaughn. They are two police officers that get suspended after a drug bust went wrong. To make ends meet on their time off, Brett Ridgeman (Gibson) enlists his partner Anthony Lurasetti (Vaughn) into depriving some crooks of their drug money. As their plan moves forward, they find themselves deeper in an ever growing hole in which it looks like there's no return.

I honestly didn't know that much about Dragged Across Concrete when I bought it. All I knew was it starred the previously mentioned actors and I have enjoyed another one of the director's releases. I've seen many people talking about this movie being overly long and boring online. This is an opinion I can understand. It is without a doubt a slow burn at two and a half hours long. It's also technically a very dialogue heavy movie with a good chunk of it feeling very natural and not necessarily relevant to the actual film plot. Personally speaking, I actually quite enjoyed the pacing of the film. I felt that it took its time and only developed the story when it needed to. In between these scenes, we got to know a number of characters and I felt it was one of the more natural films I've seen in a good while.

It's a visually impressive movie. The quality of the film is really sharp, the amount of detail is fantastic. The set pieces are all very down to earth and real. There's no signs of cheap sets or much in the way of CGI throughout the movie. It's also not an action film by any means but there are a few scenes of intense gun play and some pretty impressive gore. One scene in particular might shock some. I loved it. It was nice to see a film take those sort of risks.

Dragged Across Concrete is definitely a type of film I wish people would make more of. There's nothing fancy or flashy about it. It's a straight faced, slow paced, bleak film that really shows just how good Mel Gibson still is and how much promise the director has. If you like your slow burn cop dramas, this might be a good one for you to pick up. It's a really good movie.
One person found this helpful
BewBobReviewed in the United Kingdom on 31 December 2019
5.0 out of 5 stars
It's not a new Lethal Weapon...okay?
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I’ll admit I’m a late comer to the work of S. Craig Zahler – I’ve yet to see Bone Tomahawk (which I’ve been told repeatedly I will like), or Brawl in Cell Block 99 but after watching Dragged Across Concrete I’ll be checking them out as soon as possible. (Dragged was a very late find for the list this year). It would be nice if a few other people saw this movie – from what I can see with a budget of around $15 million and takings globally of just $660,000 (I can’t believe that’s right, but according to Box Office Mojo there you have it)
At its most basic level, it’s the story of two disgraced cops (Mel Gibson and Vince Vaughn) who need money and decide to get it by taking it from local criminals and the intersecting story of Henry, fresh out of prison and looking to make some money for his dependent mother and brother.
At a slightly closer look it has a lot to say – about cinema, media, race and culture. Some of it is heavy handed, but it’s intriguing to see Mel Gibson being busted in the earliest parts of the film for something Martin Riggs would have thought nothing of doing with a quip and a few added bullets to boot in the Lethal Weapon days. Of course, casting Mel Gibson as a problematic, racist (but how racist?) cop raises more questions: questions that may have contributed to the film’s box office failure. It’s not just Gibson that might have kept audiences away in droves – it’s a long movie: nearly two and a half hours and short on set pieces – although when they come they’re brutal and effective, and the pacing is deliberately slow – in structure and individual scenes: dialogue is delivered painstakingly slowly: and in style that will divide, even as my wife said “It’s so wooden”, I was thinking how fantastically different it was being presented and delivered.
It's a nihilistic movie, but with flashes of jet-black humour, and the cast are uniformly excellent – Vince Vaughn the best I’ve seen him since 1998’s Clay Pigeons – another criminally underseen movie, and Gibson continues in films far more interesting, if far less profitable than pretty much anything he did in his hey-day of popularity.
One person found this helpful
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