Review of Free Fire (2017) by Spangle — 09 Sep 2017

After loathing Ben Wheatley's last film, High-Rise, my expectations for Free Fire were quite low. Yet, after watching, it is a film that may lose some steam along the way, but it works. Stylish, strongly directed, and terrifically acted, Free Fire manages to invest us in this brief moment at the end of these characters' lives as they engage in a shootout in Boston. Arising out of a weapons deal where one of the men selling the merchandise recognizes one of the buyers as the guy who "bottled" his female cousin and the wrong guns were provided, this hour plus long shootout in an old warehouse is thrilling, engaging, and often quite shocking to watch. Never shying away from violence or unexpected deaths or unexpected characters, Wheatley's film is one that attempts to re-invigorate the action-comedy genre with the kind of spirit found in the work of Quentin Tarantino, but minus all of that distracting plot. Free Fire gets to the good bits and then let's this attractive cast bleed all over the set instead. Like a lead-infused musical, Free Fire hits the right notes and creates sweet music as the bullets fly.

Though never particularly deep - throw-away lines regarding the place of the sale being an old warehouse that made things nobody wants anymore or Brie Larson's anger regarding the "bottling" of some girl do not count - Wheatley is still able to make this one have great depth due to smart writing. Ditching the obvious and ham-fisted symbolism of his prior feature, Wheatley instead makes an action film that develops characters through bullets. With each shot defining loyalty and each line delivering some crucial element of the character, Wheatley is able to somehow make us care about people who should, given the lack of real plot or depth, be rather unmemorable. Yet, many stand out in their own way and become quite easy to root for. Given the size of the cast and often chaotic shooting in this warehouse, it could be easy to lose track of everybody, but the fact that each character feels distinct and distinguishable from one another is quite the achievement. Though it may seem a bit facetious or a low-bar for a film, it is all too often that even character-driven or plot-heavy films begin to lose track of who everybody is and what they mean for the story. Free Fire, however, never has this issue and instead develops its character smartly, without any kerfuffle, and without out any distraction. Instead, it neatly introduces them all, gives them all motivation, shows their bonds or lack thereof with the other characters, and then gives them a gun to fight their way out. Tight and smart, the characters in Free Fire are exactly what they need to be and that is all that can be asked.

Of course, the acting certainly goes a long way in bringing about this appeal for the characters, as the strong acting across-the-board often serves to breathe life and individuality into these characters. As manic gun runner Vernon, Sharlto Copley brings a real wild card element to this film and plays this crazed lunatic incredibly well. Compared to the more straight-laced Justine (Brie Larson) or business-focused Chris (Cillian Murphy), Vernon's insane gun runner is one that brings that fun and care-free element to the film that often makes it such a joy to watch. For their parts, Larson and Murphy also deliver typically strong performances. Alongside them, Armie Hammer's dapper and charismatic Ord may not be totally out of his range, but it is nonetheless yet another role that he really nails. An incredibly unsung actor somehow, Hammer's laid back charisma is one that makes him easy to believe as a middle man between two criminal organizations, who is responsible for setting up the sale. In a smaller role, Sam Riley continues to scream out for roles akin to the one he received as the lead in Anton Corbijn's Control. Somehow sympathetic - perhaps just because I do like Riley's work - and absolutely insane as scumbag Steveo, Riley gives an unhinged and rage-infused performance that hits all the right notes.

Stylistically, Free Fire is an impeccably crafted film with excellent lighting. Relying upon the orange-tinted lighting of the warehouse to provide all of the visibility in the film, the orange tint is appealing visually, but perfect for capturing the era. Set in, presumably, 1970s Boston, the terrific costume design naturally captures much of this, but the lighting further adds to this appeal. Giving it the look of an old photo or a dimly dreamscape of insanity, this orange hue is what defines the look of the film and what adds much of its visual appeal. Wheatley, additionally, injects style via how the shootout is framed. With tight shots of the characters as they hide behind various obstacles, the film rarely shows where the other characters are in relation to whomever is in the shot.