Showing posts with label Vince Vaughn. Show all posts
Showing posts with label Vince Vaughn. Show all posts

Saturday, 11 April 2026

Movie Review: Domestic Disturbance (2001)


Genre: Thriller  
Director: Harold Becker  
Starring: John Travolta, Vince Vaughn, Teri Polo, Steve Buscemi  
Running Time: 89 minutes  

Synopsis: In New England, divorced boat builder Frank (John Travolta) is devoted to his 12-year-old son Danny (Matt O'Leary). Still dealing with the trauma of his parents' breakup, Danny is prone to running away and lying. Frank's ex-wife Susan (Teri Polo) agrees to marry the new-to-town and wealthy Rick Barnes (Vince Vaughn), but the unexpected arrival of mysterious stranger Ray (Steve Buscemi) exposes Danny to the dangerous true nature of his new step-father.

What Works Well: While this is a routine thriller, John Travolta and Vince Vaughn add solid star power and a layer of gloss. The genuine father-son bond between Frank and Danny provides a sturdy foundation of warmth built to withstand the turmoil of lies and deceit. Director Harold Becker keeps the pacing brisk and the running time short, efficiently setting the context and steadily increasing the level of menace. In a brief but welcome appearance, Steve Buscemi is the uninvited slime exposing Rick's secrets.

What Does Not Work As Well: The plot holes are glaring, including slipshod police work, murder as the worst possible means to cover criminal tracks, a stabbing committed in the open when a secure warehouse was nearby, an antagonist believing he can hide from a past splashed across the media, and a victim downshifting to stupid mode to make the crime as easy as possible. The foundational heist that triggers all the action remains a frustratingly abstract event.

Key Quote:
Rick: You may not know me, but you do know Danny.
Frank: Oh, I know. He lies. He lies to just about everybody. But you know what?
Rick: What?
Frank: He doesn't lie to me.



All Ace Black Movie Blog reviews are here.

Monday, 2 June 2025

Movie Review: Nonnas (2025)


Genre: Dramedy  
Director: Stephen Chbosky  
Starring: Vince Vaughn, Linda Cardellini, Susan Sarandon, Brenda Vaccaro, Talia Shire, Lorraine Bracco  
Running Time: 114 minutes  

Synopsis: Raised in a food-loving Brooklyn-based Italian family, transit worker Joe (Vince Vaughn) decides to honor his deceased mother by opening a restaurant and having the food prepared by actual Italian grandmothers, or nonnas. Joe's buddy Bruno (Joe Manganiello) helps with renovations, and Joe recruits his mother's best friend Roberta (Lorraine Bracco), hairdresser Gia (Susan Sarandon), former nun Teresa (Talia Shire), and Antonella (Brenda Vaccaro) to run the kitchen. He also reconnects with Antonella's neighbour Olivia (Linda Cardellini), who was his high school prom night date. Despite good intentions, transitioning from an idea to a successful business will not be easy.

What Works Well: Based on actual events, this is a heartwarming dream-turns-real story. Nostalgia, love of family, homeland traditions, and some spiky humour (the nonnas don't all necessarily always like each other) underpin Joe's unlikely aspirations to build and run a business from scratch. A glorious group of veteran actresses brings quality to the stovetops, and the script takes care to round the nonnas into real women with backstories, struggles, and disappointments worth sharing.

What Does Not Work As Well: This is an ultimately small-scale story that marches to familiar against-the-odds beats, with a foregone conclusion. The attempts to wring admittedly humorous tension out of Bologna versus Sicily hostilities and Joe's clashes with Bruno are never more than obvious narrative speed bumps.

Key Quote:
Teresa: We are strong women with Italian blood in us.



All Ace Black Movie Blog reviews are here.

Sunday, 4 May 2025

Movie Review: Fighting With My Family (2019)


Genre: Sports Biography  
Director: Stephen Merchant  
Starring: Florence Pugh, Lena Headey, Vince Vaughn, Nick Frost, Dwayne Johnson  
Running Time: 108 minutes  

Synopsis: In Norwich, England, working class couple Patrick and Julia (Nick Frost and Lena Headey) run a local semi-pro wrestling circuit featuring their teenaged children Zak and Raya (Jack Lowden and Florence Pugh). The family dreams of getting noticed by the World Wrestling Entertainment, and Zak and Raya are finally given an opportunity to audition in London. But WWE recruiter and coach Hutch (Vince Vaughn) only selects Raya for further training, and she jets off to Florida leaving Zak resentful. Raya adopts the stage name Paige as she attempts to qualify for the WWE, but she faces numerous challenges and an increasingly strained relationship with her family back home.

What Works Well: Plenty of heart ensures a warm glow in this biography of professional wrestler Paige, with a focus on humble roots and an unlikely path to stardom. The hardscrabble family background features sports-as-salvation from addictions and incarceration, with love, support, ambition, and humour fueling Paige's rise. She still has a lot to learn once her WWE training starts, and Florence Pugh invests in Paige's complex personal growth as she meets competitors from other backgrounds and navigates her brother's doldrums. Vince Vaughn builds a steady bridge between Norwich and glamour, and Dwayne Johnson enjoys a couple of prolonged scenes as himself. 

What Does Not Work As Well: The rags-to-riches story arc offers few surprises, leading to a high-volume final act filled with triumphalism, lacking subtlety, and compromised by a never-before-seen opponent.

Key Quote:
Raya (to Coach Hutch): You didn't cut me and I didn't quit.



All Ace Black Movie Blog Reviews are here.

Saturday, 11 February 2023

Movie Review: Seberg (2019)


Genre: Biographical Drama
Director: Benedict Andrews
Starring: Kristen Stewart, Jack O'Connell, Anthony Mackie, Vince Vaughn
Running Time: 102 minutes

Synopsis: In the late 1960s, actress Jean Seberg (Kristen Stewart) is attracted to the black civil rights movement and starts a passionate affair with activist Hakim Jamal (Anthony Mackie). She also donates to the Black Panther group, prompting the FBI to intrude into her life with agents Solomon (Jack O'Connell) and Kowalski (Vince Vaughn) mounting surveillance. Seberg's marriage to Romain (Yvan Attal) crumbles and she experiences paranoia, but refuses to betray her beliefs even as the government ramps up pressure. 

What Works Well: The opening act captures the whirlwinds of an era dominated by social turmoil, sucking in an idealistic but troubled and naive actress eager to gain publicity and satisfy carnal urges. The unchecked ability of a powerful government agency to tamper with a citizen's life is portrayed with cold detachment. The set designs and outfits capture a late 1960s vibe, and Kristen Stewart owns the narrow range between sullen and angry.

What Does Not Work As Well: The second half of the film stalls, with Seberg stuck in a dark emotional space and the unformed side-stories of the FBI agents intruding into the spotlight. Precious little background is revealed about Seberg to explain her activism and mental health issues, and selective scrubbing reduces civil rights leaders to polite cocktail party fundraisers. In any event, the black power plot driver unceremoniously fades away.

Conclusion: Occasionally potent portrait of a celebrity wading into trouble, but falls short of the intended searing social commentary.






All Ace Black Movie Blog reviews are here.

Saturday, 16 January 2021

Movie Review: Brawl In Cell Block 99 (2017)

A prison drama with a difference, Brawl In Cell Block 99 layers on violence, gore, attitude and plot twists in a grindhouse celebration.

Physically imposing recovered alcoholic Bradley Thomas (Vince Vaughn) is laid off from his tow-truck driver job, and on the same day discovers his wife Lauren (Jennifer Carpenter) having an affair. After he vents his frustration they decide to stick together and try to repair their relationship, and their economic fortunes improve once Bradley starts working as a mule for drug distributor Gil.

18 months later Bradley and Lauren have graduated to a nice house, Lauren is pregnant and Gil leans on Bradley to help establish a partnership with a Mexican cartel. But a pickup operation goes wrong, Bradley is involved in a shootout with police, arrested and sentenced to seven years at a medium security prison. Lauren vows to wait for him, but Bradley is soon visited by a Placid Man (Udo Kier) and realizes his troubles are only just beginning.

As bad as things are when Bradley initially loses his freedom, it is sufficient to note things will get a lot worse, and not in accordance with any familiar prison drama conventions. Not much more should be revealed about the plot of Brawl In Cell Block 99, because writer and director S. Craig Zahler uses the basic premise as a jumping off point to a mazy, often startling prison-set thriller where genre expectations are teased then stomped. Zahler's follow-up to the excellent Bone Tomahawk is equally brilliant, with punctuations of humour and gobs of jaw-dropping violence sparring with a deeply human core.

The character of Bradley (not Brad) is a memorable creation, brought to life by an almost unrecognizable Vince Vaughn achieving an unlikely career highlight. Zahler contrives to amplify Bradley's dimensions to giant bruiser levels, and an early man-versus-car battles establishes his credentials at tolerating pain and inflicting damage.

Demonstrating patience in deploying violence, the first half concentrates on build-up and feints disinterest in confrontations, Bradley almost going out of his way to avoid harming others. But driven by the imperative of protecting family, base instincts are unleashed behind prison walls. Carnage on the human body is doled out with relish, made just about tolerable by a cartoonish embrace.

The grim aesthetics enhance Bradley's ordeal. The early scenes are saturated in depressing blues and greys as Bradley accepts bad luck as the only luck he will ever have, then dank browns and oranges take over as he falls ever deeper into prison system hell. The relatively sparse cast includes Don Johnson having great fun as a cigar-chomping prison warden seasoned in separating vicious men from their freedom.

Surprising, wicked and proudly brutal, Brawl In Cell Block 99 pulls no punches.



All Ace Black Movie Blog reviews are here.

Sunday, 22 March 2020

Movie Review: The Cell (2000)


A serial killer drama with a difference, The Cell combines imaginative horror, psychology and science fiction to invade a murderer's psyche.

Psychologist Dr. Catherine Deane (Jennifer Lopez) is part of team attempting experimental treatments for schizophrenia. Using revolutionary technology developed by Dr. Miriam Kent (Marianne Jean-Baptiste) and Henry West (Dylan Baker), she enters the mind of young patient Edward to try and lure him out of his coma.

Meanwhile Carl Stargher (Vincent D'Onofrio) is a deeply disturbed schizophrenic serial killer. He kidnaps young women and isolates them for days in an automated holding tank, gradually increasing the level of water in a cleansing ritual before the kill. After kidnapping his latest victim Julie Hickson (Tara Subkoff), Carl succumbs to his illness and drops into an irreversible coma. FBI Agent Peter Novak (Vince Vaughn) desperate needs to know where Julie is being held, and turns to Catherine with a request to enter Carl's mind to search for clues.

More of a visual feast than a traditional serial killer thriller, The Cell most resembles a visit to an elaborate modern art gallery as director Tarsem Singh brings music video panache to his cinematic debut. Stunning production design, outlandish costumes and make-up, an imagination on steroids and crisp cinematography combine to produce a memorable and knowingly disturbing experience.

The Cell is rich in symbolism, some of it religious, as well as echoes of inspiration from other films, including an opening shot that salutes no less than Lawrence Of Arabia. Water plays a key role in Stargher's agony and derangement, while horses help Catherine navigate foreign minds.

For all the emphasis on ostentatious style, the Mark Protosevich script does also provide an intriguing and relatively original race-against-time narrative. There is a short segment of detective work where Novak and his colleagues frantically work to identify and apprehend Stargher as his kill rate increases, but the real drama resides in the urgent infiltration of a killer's mind.

And it's up to Catherine to navigate a horror show where childhood trauma and a history of brutal abuse co-exist with an adult damaged beyond repair, trapped in his own grandeur but holding one last secret that may yet save a life. The link between deep childhood emotional upheaval and the adult descent into the worst kind of criminality is typical Hollywood fare, and here it amped up with sexual repression, sado-masochism and some disgusting gore.

Just as the film's strength are vivid, so are some suspect moments. The Peter Novak character almost literally wanders in from another movie, and some of the protocols in the mission-critical mind invasion science room, including dog privileges, are loosey-goosey at best. Singh's rush to the next spectacular tableau often overwhelms the pacing, The Cell sometimes resembling a hypnotic experience on warp speed.

Jennifer Lopez maintains a steady presence without achieving any breakthrough moments, while Vince Vaughn struggles to grab a hold of Novak. Vincent D'Onofrio plays to his strength as an unhinged murderer responding to vile impulses.

The Cell tackles horrid subject matter, wrapping grotesque inhumanity in incongruous yet gorgeous packaging.






All Ace Black Blog Movie Reviews are here.


Saturday, 11 May 2019

Movie Review: The Break-Up (2006)


A romantic comedy about the ignoble end of couplehood, The Break-Up succeeds in disrupting the genre's predictability.

In Chicago, Gary (Vince Vaughn) and Brooke (Jennifer Aniston) have a seemingly perfect relationship and are living in the condominium they co-own. He runs a tour business with his brothers (Cole Hauser and Vincent D'Onofrio), while she works at the gallery owned by celebrated artist Marilyn Dean (Judy Davis).

But after one long day Brooke snaps at Gary's lack of sensitivity and appreciation for everything she does for him. Feeling he takes her for granted, she breaks-up their relationship, but secretly wishes he will change his ways once he understands what he's losing. Forced to co-exist in their apartment until it sells, they both deploy nasty antics to irritate each other and evoke jealousy, reducing the likelihood of the relationship being salvaged.

Perhaps one way to revitalize the romantic comedy is to skip past most of the meet cute and courtship stages, and The Break-Up gets all that out of the way in the first scene. Gary spots Brooke at a baseball game, charms her with his rough goofiness, and the next major incident presented by director Peyton Reed is the dinner party ramp-up to a pretty spectacular relationship implosion.

And for once the big argument has nothing to do with an ex-lover, jealousy or one of those contrived misunderstandings that litter the genre. Here Brooke has her fill of Gary's selfishness, evident in that first scene at Wrigley Field, and she erupts in a volcano of rage against his me machine.

The rest of the film takes a sharp scalpel to the relationship remains. With plenty of humour and some touches of boorishness, Reed explores her and his points of view, with a focus on character-consistent blind spots. Brooke judges herself the perfect partner and is certain Gary will come around and understand how much poorer life will be without her. It's a valid but unproven assumption: Gary's life centres on fulfilling his needs and wants with no emotional room for much else, and understanding her desire for appreciation does not register.

They trade wind-up tactics during the reluctant real estate wind-down phase. He brings in a pool table; she retaliates with her insufferable brother's acapella choir. He hosts a stripper party. She prances naked, reminding him of what he's missing. Jennifer Aniston and Vince Vaughn invest enough venom with hints of regret to make the tit-for-tat war of attrition work. And the film is enriched by a superior supporting cast featuring real estate Jason Bateman, bartender Jon Favreau and Brooke's work colleague Justin Long.in addition to Hauser, D'Onofrio and Davis.

The Break-Up shatters most rom-com cliches, and not unsurprisingly finds welcome new edges to sift through.






All Ace Black Blog Movie Reviews are here.


Monday, 19 November 2018

Movie Review: The Dilemma (2011)


A comedy-drama-buddy movie, The Dilemma creates a narrative mountain out of a molehill.

In Chicago, Ron (Vince Vaughn) and Nick (Kevin James) are business partners and long-time friends. Ron is a smooth salesman and Nick is a brilliant engineer, and they secure a lucrative but time-constrained contract to develop a high-powered electric engine for Chrysler. Nick is seemingly happily married to Geneva (Winona Ryder) while Ron, a recovering gambling addict, is in a long-term relationship with Beth (Jennifer Connelly) and thinking of proposing.

With all the pressure on Nick to deliver the innovative new engine, Ron spots Geneva in a lovers' embrace with hunky Zip (Channing Tatum). Ron is caught in a dilemma, not sure if and when he should tell his already frazzled friend that his wife appears to be cheating. The secret starts weighing on Ron, affecting his own relationship with Beth.

Incongruously directed by Ron Howard and written by Allan Loeb, The Dilemma may have worked as a 90 minute independent feature with a light and quirky touch. Instead, here it is bloated into two hours of torment, with an overpowering star name in every underwritten role as Howard strains every muscle to stretch the flimsy premise into an event. Even Queen Latifah shows up as a preposterous auto industry consultant.

The entire film hinges on Ron suppressing a "your wife is cheating" conversation with Nick, and none of the surrounding fluff makes any difference: Ron's background as a gambling addict; his college-days romantic adventures; Nick's extracurricular massage parlour habits; Beth's parents' anniversary; the electric engine project and even the non-entity of Zip's character. All are undeveloped idea fragments sprayed around to pad the running time and obscure the paucity of substance.

The marginal positives include a few laughs and chuckles when Vaughn finds some form in his monologues. But ever here Loeb somehow introduces a borderline homophobic remark, and the continuous faux-macho football-infused banter between Ron and Nick is juvenile and tiresome. Other than being a wife and a girlfriend respectively, Geneva and Beth are provided with no exposition.

Despite all the available talent on both sides of the camera, The Dilemma wallows in an exaggerated quandary of its own making.






All Ace Black Blog Movie Reviews are here.


Thursday, 14 June 2018

Movie Review: Mr. And Mrs. Smith (2005)


A comedy action thriller, Mr. And Mrs. Smith enjoys tremendous chemistry between its two stars, a high-energy attitude, and a sharp script.

John Smith (Brad Pitt) and Jane Smith (Angelina Jolie) are a married couple. Both are assassins-for-hire and they keep their profession hidden from each other. Five or six years into the marriage, the layering of secrets is straining their relationship. Things get worse when they are independently tasked to kill the same target, and then instructed to take each other out.

Jane Smith: [after firing three shots through a wall at John] Still alive, baby?

The premise cannot be any simpler, and yet director Doug Liman, working from a Simon Kinberg script, creates an exceptionally enjoyable movie out of it. Mr. And Mrs. Smith is a tongue-in-cheek joyride through the world of professional assassins and domesticity, and indeed the entire film works as a commentary on the doldrums that beset a marriage and how to overcome them.

John Smith: [over the car phone, trying to beat Jane home] That's the second time you've tried to kill me today.
Jane Smith: [over her speakerphone, trying to beat John home] Oh, come on, it was just a little bomb.

At two hours long the film does threaten to overstay its welcome, but Liman methodically goes about organizing the story into three parts. The introduction sets up the premise and the business of secret professional killing hidden from a wobbly marriage. The middle third is all about Mr. and Mrs. Smith gunning for each other. The final segment has them sorting out their issues and driving towards a raucous conclusion.

John Smith: We have an unusual problem here, Jane. You obviously want me dead, and I'm less and less concerned for your well-being.

Brad Pitt and Angelina Jolie ignite Mr. And Mrs. Smith with ferocious chemistry. From their opening meeting in Bogota to the final beautifully choreographed wild shootout, Pitt and Smith share a smooth rapport, whether exchanging edgy barbs, trading bullets, or enjoying sizzling sex. The stellar supporting cast includes Vince Vaughn, Kerry Washington, Adam Brody, Keith David and Michelle Monaghan, but none of them get more than a few token scenes: this is very much the Pitt and Jolie show.

John Smith: [after firing a rocket launcher] We should so not be allowed to buy these.

The action scenes are over-the-top, elegantly directed, and spiced with a steady stream of verbal sparring. Touches of humour are applied in just the right doses, serving as reminders that the film does not take itself too seriously.

John Smith: [after Jane checks his crotch for a weapon] That's all John, sweetheart.

It’s always better for a couple to cooperate towards a common purpose. For Mr. And Mrs. Smith, killing is their business, and business is better together.






All Ace Black Blog Movie Reviews are here.


Saturday, 1 April 2017

Movie Review: A Cool, Dry Place (1998)


A romantic drama about single parenting and second chances, A Cool, Dry Place is earnest enough but also remarkably unoriginal.

Russell (Vince Vaughn) is raising his young son Calvin alone; they were both abandoned by Russell's wife Kate (Monica Potter) 18 months prior. The increased solo parenting duties caused Russell to lose his job as a high-powered Chicago lawyer, and he has now moved to a small law office in rural Kansas seeking a quiet and more balanced life.

Calvin is often a handful, and Russell also has a challenge coaching the local high school basketball team. He meets Beth (Joey Lauren Adams), the older sister and guardian of star basketball player Noah (Devon Sawa). Russell and Beth start a relationship, but Kate's sudden reappearance again changes everything.

Directed by John N. Smith, A Cool, Dry Place almost qualifies as a remake of Kramer vs. Kramer. A man struggles with the added weight of full parenting responsibilities while dealing with abandonment issues. Just when things begin to settle down and look up, he is whiplashed again by his wife's reappearance, as inexplicable as her initial disappearance. A Cool, Dry Place stays away from the final court battle, and otherwise marks its territory with a more rustic, small-town ambiance.

Perhaps recognizing that the originality quotient of his material is limited, Smith wisely zooms in on Russell and keeps the film intimate. The scenes of a father's small triumphs and small failures grappling with a child's unpredictable demands and moods give the film an appealing sensibility, and reveal the frustrations of a man whose life has taken a sudden turn around a blind corner. Nothing is as it was, but the new road nevertheless offers intriguing growth possibilities.

The women in Russell's life are less well defined, but in the context of the story this limitation works to the film's advantage. Beth represents what the new more pastoral future may offer but only as seen through the fatigue of surrendering the past. Kate's return gradually reawakens Russell's hope that maybe the past can be rebooted. Neither offers a clear-cut option, allowing Russell's dilemma to marinate.

Vince Vaughn demonstrates that he can do plenty with a decent dramatic role, giving Russell soulful warmth and internal anguish disguised for the benefit of young Calvin.

Unpretentious and straightforward, A Cool, Dry Place may lack creativity but is a safe location for an affectionate drama.






All Ace Black Blog Movie Reviews are here.

Friday, 18 November 2016

Movie Review: Hacksaw Ridge (2016)


A war epic based on a true story, Hacksaw Ridge is the stunning story of a conscientious objector who stuck to his principles and found his purpose on a tortuous field of battle.

With World War Two rumbling to a start, Desmond Doss (Andrew Garfield) from rural Virginia enlists in the Army. Desmond grew up to despise violence, having been raised in a strictly religious family dominated by his father Tom (Hugo Weaving), a drunk, abusive and emotionally damaged World War One veteran. Desmond refuses to carry a weapon, and wants to serve his country as a medic. His anti-violence stance as a conscientious objector who nevertheless volunteered confounds the army. His unit Sergeant Howell (Vince Vaughn) tries to drum him out, while his squad mates, including Glover (Sam Worthington) and Riker (Luke Bracey) turn against him and label him a coward.

With help from an unlikely intervention by his father, Doss eventually gets his way, stays with the army, graduates as a medic, and marries his sweetheart, the nurse Dorothy (Teresa Palmer). His squad is dispatched to join the Battle of Okinawa, and quickly thrown into a meat grinder of a fight to dislodge the Japanese army from well-entrenched positions on top of a steep embankment labelled Hacksaw Ridge. With grim determination on both sides resulting in mass casualties on a brutal battlefield, the weaponless Doss will find his true calling.

Mel Gibson returns to the director's chair for the first time since 2006, and delivers a raw human story soaked in the blood and gore of battle. Hacksaw Ridge is an unflinching look at true heroism, and Gibson finds in Desmond Doss an assuming oddball, a deeply religious pacifist looking for his calling in the heat of battle. Doss won the Medal of Honor, and Hacksaw Ridge is a deeply satisfying salute to selfless courage.

The film is divided into three parts, with some flashbacks in the later scenes to fill in the gaps. The first third is an elegantly delivered coming of age love story, Desmond's background and formative years presented under the blazing sun of farm-bred innocence and the dark clouds of a damaged father figure. Key incidents from Doss's early life are efficiently presented, as he grows into a teenager willing to stand up to Tom, protective of his mother Bertha (Rachel Griffiths), and dogged in his pursuit of the ethereal Dorothy.

The middle of the film is a search for self: Doss knows he wants to be in the army, is insistent that he wants to go war without a weapon, and is stubborn about both obsessions to the point of taking on an incredulous army establishment. Slowly he garners a grudging respect among the fellow trainees who don't understand him, but even the grunts and sergeants begin to admire something intangible in the gangly kid with a goofy attitude but a core of steel.

The foundations solidly laid, Gibson moves confidently into the final act, shifting gears and creating nothing less than hell on earth. Taking the opening 27 minutes of Saving Private Ryan as just a starting point in the realistic representation of battle, Hacksaw Ridge goes beyond what is easily imaginable, presenting a harrowing close-up vision of war and its destructive impact on bodies and souls.

The Battle of Okinawa is recognized as one of the bloodiest of the entire conflict, with estimates of up to 130,000 soldiers killed, and is cited as one of the core reasons the decision was made to drop the atomic bombs on Japan. Gibson does not flinch from what this level of human carnage means: in a series of battles at close quarters, men are torn to pieces, guts are spilled, partial torsos are used as bullet shields, and rats feast on human remains. Death rains in from all directions, and Gibson leaves no doubt what the field of combat can do to a man who survives the horror. Suddenly both Tom's descent into an alcohol-fuelled depression and Desmond's anti-war stance make perfect sense.

The camerawork in the combat zones is superb. Gibson along with cinematographer Simon Duggan and editor John Gilbert keep the images rational, the cameras fluid, up close but only slightly jerky. The images of brutality, death, and heroism never compete with stunt directing and micro editing.

Andrew Garfield is serviceable and stays loyal to Desmond's admittedly dopey persona. Vince Vaughn finally demonstrates some acting chops outside of lame comedies, and enjoys a tremendous entry scene, Sergeant Howell invading the barracks of the new army recruits and exposing them to his brand of discipline and humiliation. Sam Worthington and Luke Bracey are the most prominent of the many fellow soldiers who endure the war with Desmond and witness or benefit from his exceptional audacity.

Hacksaw Ridge is an instant classic war film, a story of true love, religious conviction, dedicated service and remarkable bravery set amidst the worst form of perdition.






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