FREE FIRE – Review

Hold on to your wallets and purses, here comes the creeps and crooks because it’s crime time once again at the multiplex (and I’m not talking about those concession prices). This week’s flick is more of an offshoot of the crime genre: it’s the heist flick, or more specifically, the heist “gone wrong” flick. Now, this isn’t a sophisticated caper thriller, say like the OCEANS 11 franchise (that all-female “spin” is on its way) or even THE THOMAS CROWN AFFAIR (68′ and 99′). The dudes (and dame) in this movie could never pass in “high society” (like that suave Cary Grant in TO CATCH A THIEF), they’re “working class” criminals. These types have been a very frequent source for “indie” films, from BLOOD SIMPLE and RESERVOIR DOGS to, well, last year’s critical “darling” HELL OR HIGH WATER. This tale varies from the caper formula since they’re not stealing from a bank or a business, though it’s a serious illegal act, a big criminal transaction. Mix in some cheesy nostalgia, simmer over hot tempers, and you’ve got the recipe for a tart and tangy FREE FIRE.

Oh, that scent of nostalgia wafts in from the decade of “primo” kitsch, the swingin’ 1970’s. 1978, to be precise, on the mean streets of Boston. In a grungy van parked near the docks sits two pals, Bernie (Enzo Cilenti) and Stevo (Sam Riley) as they wait for their partners on this “job”. Stevo is still smarting from a beat-down he received hours ago from a dude at his favorite “watering hole”. A car driven by Stevo’s father-in-law Frank (Michael Smiley) finally pulls up. Its other occupants are Chris (Cillian Murphy) and Justine (Brie Larson). She has set up a “buy” for Chris. He’s buying guns to ship to his native Ireland (this being the time of the “troubles”). And now they must wait for her connection. Right on time is the laid-back, smooth-talking Ord (Armie Hammer). After a quick “pat-down”, he guides them to a deserted factory (“Whatever they made, nobody wants it anymore”). Then , following a few more minutes of banter, the gun guys arrive. It’s the strange-accented (“Just where is he from?”) motor-mouth Vernon (Sharlto Copley) and his quiet partner (“Not sidekick”) Martin (Babou Ceesay). Their own vehicle full of weapons pulls up, manned by Gordon (Noah Taylor) and Harry (Jack Reynor). Chris is annoyed that these are not the M-16’s he had ordered, but these powerful assault rifles will have to do (for he is “under the gun” of a tight deadline). He hands Vernon a briefcase full of cash while Stevo discovers to his horror that Harry is the guy who smacked him around last night. Despite his attempts to hide his face, Stevo is recognized by Harry. Weapons are drawn, tensions flare, and soon everybody’s diving for cover. Will any of them make it outta’ there alive? What about that case fulla’ cash? And hey, has a third party joined the fracas?

The cast attack their roles with vigor, relishing the polyester vintage duds and weird facial hair as much as the non-stop gun play and loopy dialogue. In particular, Hammer seems to enjoy a respite from his often bland leading man roles, with a chance to get “down and dirty”. Ord exhibits a sense of stylish grooming, often sneering at the “slobs”, as he delivers snarky insults in a casual “throwaway” nonchalant tone (ala pre-Deadpool Ryan Reynolds). At the opposite end of the emoting spectrum is Copley, screeching and swaggering as the too often “over the top” Vernon. He seems more concerned about the damage to his hideous “Saville Row” suit than the bullets zipping past. Unfortunately, the talented actor (DISTRICT 9, THE HOLLARS) wasn’t reigned in and his continuous braying becomes more aggravating than funny. Oscar winner Larson is saddled with the “token” female role, there for the goofy guys to impress as she rolls her eyes. And when the battle begins, we’re to be shocked that she’s just as ruthless and deadly as the men. Murphy is the most calming leader, who has little to do aside from hitting on Justine and chain-smoking. Also on the lower end of the energy scale is the subdued Ceesay who has a nice “slow burn” bit as he tries to deal with the bombastic Vernon. Unfortunately this interesting character is reduced to a lumbering, dazed gun-blasting zombie by the film’s middle act. The rest of the actors are merely dim-witted cannon (er, rifle and pistol) fodder, with hair-trigger tempers spouting put-downs and threats. Smiley’s a ball of rage and abuse (slugging his son-in-law) and Reynor (so delightful in last year’s gem SING STREET) is a seething demon of rage and revenge. But they all appear to be having a blast.

Just a shame that sense of fun doesn’t seep into the audience. Director and co-writer Ben Wheatley, after last year’s social class satire HIGH RISE, has decided to make a bloody, violent tale to challenge (or maybe it’s a tribute) Tarantino and Guy Ritchie (and Martin Scorsese’s a co-producer), but the result is a tedious excercise in excess. Much like last year’s THE NICE GUYS, he thinks that easy laughs at tacky 70’s junk (Look, it’s an 8-track tape! Playing a mellow country singer during the mayhem! Hysterical, eh?) makes up for compelling characters and an original plot. Happily we’re spared a lengthy run-time, as they gangs think they have 90 minutes tops before they “bleed out”. I’m surprised there wasn’t a plasma red clock in a corner of the screen, ticking away. This a movie for the action flick crowd who thought the JOHN WICK films were way too cerebral (too much “talky-talk”). And the action’s not very well presented. With the quick cuts, ricochet sparks, and screaming, it’s tough to figure out who’s doing what to whom. That also depends on whether you have any attachment to this one-note clichés. And in between the fire fights, there are lots of scenes of the limping and crawling combatants trying to find cover, or the cash. And boy, that 90 minutes feels a lot longer (guess nobody hit an artery). FREE FIRE is a sophomoric, sleazy endurance test for those crooks and for movie goers alike. To quote the much more entertaining  LEGO BATMAN MOVIE, “Peww! Pew! Pew!”.

2 Out of 5