Paul Andrew Williams’ nightmare of revenge is a violent gang commotion that turns his stomach and returns this filmmaker to the territory he first marked with his 2006 feature debut, the underworld thriller London to Brighton. There are brilliant moments here, and Bull is arguably as good as, say, Shane Meadows’ much-admired Dead Man’s Shoes, in an equally relentless streak. But I have to admit that the female characters seem less interesting to me than in London or Brighton, and opinions could be divided on the ending here, that the film telegraphs beforehand and yet also diverts your attention, with a mixture of the line of time.
Neil Maskell plays the titular Bull, and for those of us who have enjoyed this actor’s powerfully charismatic and haunting performances in the past, particularly in the Ben Wheatley films, the cast should be a clue. You don’t expect anything smooth and relaxing from Maskell, and you don’t get it. Bull used to be a London mob enforcer working for Norm (David Hayman), who, among many unpleasant concerns, runs an unreliable butcher business that forces food suppliers to accept his unreliable meat. Norm and the rest of his team, including Marco (Jason Milligan), Gary (Kevin Harvey), and Beardy (David Nellist), sometimes find themselves on a greasy spoon, wearing high-visibility tabards, indicating some kind of craft of construction. front of.
With his fanatic but disciplined love of violence, Bull should have been Norm’s favorite employee, especially since he’s also his son-in-law, having married Norm’s daughter Gemma (Lois Brabin-Platt), with whom he has a young son. But to Bull’s fury, Gemma became addicted to slapping and a neglectful mother to her adored child, and Norm, scowling, sided with her in their many arguments. When the relationship broke up, Bull demanded sole custody of his son. The escalation of the dispute led to a horrible situation with a burning caravan, to which there are traumatized memories. Now Bull is back to take a terrible and bloody revenge against everyone.
There are moments of inspiration that light up this film like lightning bolts: There’s the murder that Bull carries out at the beginning, with a pistol that he then nonchalantly tosses at his driver’s car. And it’s Norm firing a sawed-off shotgun in a confined space that takes us to a strange world in slow motion where the explosion freezes everything with a sickly flash like a flash.
And, of course, Bull takes us back to the dizzying world of Mike Hodges ‘Get Carter and Ted Lewis’ crime fiction, although Bull is probably even more distasteful, with his great love for cutting off the fingers and limbs of people with butcher knives. But the difference is that Carter was trying to discover the truth; here, Bull already knows the truth, and we don’t. What exactly has motivated your lust for revenge? The explanation, when it arises, is both wildly exaggerated and a bit anticlimactic. Well, the horns in this movie are still pretty sharp.
George is Digismak’s reported cum editor with 13 years of experience in Journalism