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双色球全部期开奖结果

   文章来源:迅雷看看电影频道   发布时间:2019-11-19 14:33:59|彩图图库118  【字号:      】  

  

  A dribbling tear tells you much about “Dragged Across Concrete,” a self-satisfied slow burn of a movie. This salty emanation slides through a slit that a very bad man with a very big knife cuts in the duct tape covering a hostage’s eyes. The captive is a bank employee who has been snatched during a violent robbery. She’s trussed up in the getaway van, and her fate looks bleak. Some of her colleagues were killed during the heist, and one was castrated for no real reason except as a declaration of flamboyant cruelty — putatively on the part of the villains, though the blame really lies elsewhere.

  A severed hand or finger probably would have sent a similarly strong message to the terrified bank employees. But genital mutilation is something special, an outré shock. It’s a reminder that spectacular violence can be a useful tool for slapping stories and viewers awake. The castration certainly underlines the depravity of the villains, who with each bullet and flick of the blade strengthen the case against them, paving the way for their preordained bloody punishment. Mostly, though, it is directorial swagger, just like the tear that spills from the duct-tape blindfold.

  The writer-director S. Craig Zahler has embellished “Dragged Across Concrete” — a neo-exploitation potboiler about brutal men on both sides of the law — in both modest and grandiose ways. He’s clearly given a lot of thought to this strain of detective-gangster fiction, to its cruelty, extremity, pessimism and flashes of nihilism. His detectives, Brett (Mel Gibson) and Anthony (Vince Vaughn), fit their types to a T, entering the story with ready guns and well-honed cynicism. Before long, Brett is pressing one of his boots down on the neck of a handcuffed Latino suspect and tossing a near-naked Latina woman into a shower for an interrogation — a Mickey Spillane-style warm-up for the sadism to come.

  The story is as predictable as expected, with the usual guns, cars and money, though drawn out to an unhurried 158 minutes. There are ostensible good men turned bad, and one who is perhaps less bad. There are women (Jennifer Carpenter makes sympathetic a disposable character), a retinue of the negligible, the victimized, the soon to be dead. Most of the characters fit into three categories — evil men, men who stand in evil’s way and collateral damage — and some from each will be sacrificed on the hard-boiled altar. This includes a baby, whose sole function is to fool you into thinking that things won’t turn really ugly. They do, which makes optimistic viewers suckers.

  Zahler likes to pull back to show you people in their environments, in vaulted and confining spaces. He plays around with light and dark, but mostly dark, and a lot of the story takes place in shadows or low illumination. Almost everyone lives in an impersonal home seemingly decorated by the same depressed interior designer, with muted colors and generic furnishings that turn each dwelling into a showroom. The characters are less blank largely because of Zahler’s writing, his eccentric metaphors and monologues. More prosaic is his hard embrace of the same old-fashioned American anti-authoritarianism — with its hatred for rules matched only by a love of guns — that helped define Dirty Harry.

  The movie is generally watchable, even at its slowest and ugliest, simply because the actors are solid even when their characters are repellent. Gibson delivers a tamped-down performance, going for stolid, while Vaughn runs his mouth and enjoys his flashy bits. The most sympathetic character, Henry (a fine Tory Kittles), occupies another story line that soon crosses Brett and Anthony’s. A newly released ex-con, Henry has a brother who uses a wheelchair and a mother who’s been turning tricks while he’s been in the pen. Brett has a daughter and a wife who has multiple sclerosis and uses a cane. Zahler seems to want to make Henry a counterweight to the detectives (Brett especially), as if to suggest that they’re alike, though their worlds and power couldn’t be more different.

  This spurious parallelism, though, does suit the movie’s dog-eat-dog worldview or its baiting representation of the white characters’ racism. Some openly voice their bigotry, which might have been a bold choice if Zahler had interrogated it rather than given himself convenient outs. Anthony makes a joke about Martin Luther King Jr. Day. He also has a black girlfriend, which is presumably meant to complicate his character but instead feels like a directorial hedge. When Brett’s wife says that she wasn’t a racist until she moved into their crummy neighborhood, her rueful delivery suggests that she was regrettably forced — dragged across concrete, perhaps — into prejudice. Zahler just lets her racism hang in the air unanswered, which says plenty.

B:

  

  彩图图库118【数】【名】【官】【兵】【堵】【在】【门】【口】,【亲】【眼】【目】【睹】【项】【志】【诚】【操】【刀】【剐】【肉】,【听】【着】【渔】【民】【撕】【心】【裂】【肺】【的】【叫】【喊】,【不】【禁】【感】【同】【身】【受】,【一】【个】【个】【眼】【角】【抽】【搐】,【咧】【开】【嘴】【倒】【吸】【凉】【气】。 “【项】【兄】,【这】【怎】【么】【回】【事】?”【林】【逸】【刚】【问】【完】,【肩】【膀】【就】【被】【人】【轻】【轻】【一】【拍】。【他】【转】【过】【头】,【便】【瞧】【任】【定】【北】【正】【盯】【着】【自】【己】【手】【中】【长】【刀】,【立】【马】【会】【了】【意】,【对】【周】【围】【兵】【卒】【吆】【喝】【道】:“【诸】【位】【当】【心】,【别】【被】【锋】【刃】【伤】【着】。” 【说】

【风】【烟】【看】【向】【纸】【鸢】,【看】【她】【是】【否】【要】【进】【去】,【梦】【二】【七】【也】【看】【着】【她】,【纸】【鸢】【紧】【握】【着】【拳】【头】,【目】【光】【扫】【着】【堂】【内】【的】【人】,【都】【是】【比】【较】【隐】【蔽】【的】,【带】【着】【斗】【笠】。 【她】【咽】【了】【咽】【喉】【咙】:“【进】。” 【进】【入】【一】【号】【档】【口】,【一】【股】【木】【质】【清】【香】【便】【飘】【了】【过】【来】。【两】【个】【小】【厮】【看】【到】,【赶】【紧】【应】【了】【过】【来】,【其】【中】【一】【个】【问】:“【三】【位】【贵】【人】【是】【接】【货】【发】【货】【还】【是】【吃】【茶】【留】【宿】?” 【纸】【鸢】【又】【环】【视】【了】【一】【周】,【最】

“【碎】【石】【下】【有】【暗】【道】!” 【萧】【浪】【轻】【叹】【一】【口】【气】,【没】【想】【到】【刚】【要】【出】【手】,【就】【正】【好】【被】【人】【看】【见】,【只】【能】【说】【出】【缘】【由】! 【几】【人】【跑】【了】【过】【来】,【神】【识】【探】【查】【着】【碎】【石】【下】【方】。 “【有】【暗】【道】【又】【如】【何】?【又】【不】【一】【定】【能】【出】【去】,【你】【随】【意】【用】【剑】【斩】【草】,【如】【果】【又】【引】【来】【血】【眼】,【怎】【么】【办】?” 【萧】【浪】【不】【好】【与】【之】【辩】【驳】,【等】【着】【何】【夕】【君】【等】【人】【决】【断】! “【下】【面】【确】【实】【有】【通】【道】,【只】【是】…”

  【智】【华】【轻】【喊】:【秦】【晴】,【你】【好】! 【秦】【晴】【轻】【唤】:【林】【哥】,【你】【好】! 【智】【华】【浅】【笑】:【进】【去】【说】,【你】【先】【请】。 【秦】【晴】【浅】【笑】:【嗯】,【谢】【谢】。 【初】【次】【见】【面】,【没】【有】【什】【么】【电】【闪】【雷】【鸣】【的】【触】【电】【感】【觉】。 【第】【一】【眼】【的】【感】【觉】,【还】【行】。【此】【女】【很】【难】【解】,【淡】【然】【优】【雅】【里】【夹】【杂】【着】【急】【燥】【草】【莽】。【智】【华】【觉】【得】【她】【虽】【然】【不】【是】【自】【己】【心】【目】【中】【的】【女】【神】【形】【象】,【好】【歹】【也】【沾】【了】【边】。【可】【以】【继】【续】【了】【解】,彩图图库118“【卡】【尔】【这】【是】【想】【做】【什】【么】?【蔷】【薇】【也】【不】【见】【了】,【这】【是】【要】【做】【什】【么】。” 【陈】【凌】【峰】【心】【中】【有】【不】【好】【的】【预】【感】,【他】【想】【直】【接】【跑】【到】【冥】【河】【星】【域】【宰】【了】【这】【个】【偷】【窥】【变】【态】【死】【宅】【男】。 【可】【是】【宇】【宙】【那】【么】【大】,【他】【没】【有】【确】【定】【的】【坐】【标】,【要】【找】【卡】【尔】【是】【一】【件】【麻】【烦】【的】【事】【情】。 “【天】【使】【应】【该】【会】【有】【死】【歌】【书】【院】【的】【坐】【标】。” 【地】【球】【上】【就】【有】【不】【少】【天】【使】,【陈】【凌】【峰】【很】【轻】【易】【就】【能】【找】【到】【天】【使】,【找】

  【华】【美】【的】【盖】【头】【盖】【上】,【墨】【凤】【舞】【随】【即】【被】【小】【心】【轻】【扶】【着】【走】【出】【房】【门】。 【一】【时】【间】,【整】【个】【墨】【府】【上】【下】【鼓】【乐】【齐】【鸣】,【欢】【声】【雷】【动】,【甚】【至】【连】【外】【面】【的】【街】【道】【上】,【都】【传】【来】【百】【姓】【们】【兴】【奋】【的】【欢】【呼】【声】。 【而】【与】【此】【同】【时】,【就】【在】【墨】【凤】【舞】【离】【开】【院】【子】【没】【多】【久】,【一】【个】【人】【影】【却】【忽】【然】【来】【到】【房】【间】【门】【口】。 【此】【人】【看】【似】【随】【意】,【但】【目】【光】【却】【四】【下】【飞】【快】【移】【动】,【确】【定】【四】【周】【无】【人】【后】,【便】【猛】【然】【一】【个】

  【这】【日】,【温】【度】【不】【冷】【不】【热】,【阳】【光】【正】【好】,【微】【风】【拂】【面】。 【楚】【氏】【集】【团】【旗】【下】【最】【大】【的】【腾】【龙】【酒】【店】【中】,【人】【来】【人】【往】,【熙】【熙】【攘】【攘】。 【宁】【之】【岚】【此】【刻】【正】【坐】【在】【化】【妆】【间】【里】。 【化】【妆】【师】【正】【在】【给】【她】【仔】【仔】【细】【细】【地】【上】【妆】。 【这】【时】,【郑】【安】【清】【进】【来】【了】,【她】【看】【到】【了】【镜】【中】【的】【宁】【之】【岚】,【叫】【道】:“【哎】【呀】【这】【是】【哪】【儿】【来】【的】【大】【美】【人】【呀】!” “【别】【闹】。”【宁】【之】【岚】【道】。 “【之】【岚】

  【现】【在】【的】【明】【星】【们】,【流】【量】【还】【是】【相】【当】【大】【的】【呢】,【当】【然】【他】【们】【的】【影】【响】【力】【也】【是】【会】【比】【较】【广】【的】【呢】,【在】【舞】【台】【上】【面】【的】【时】【候】,【都】【是】【光】【鲜】【亮】【丽】【的】【呢】,【那】【么】【素】【颜】【之】【后】,【会】【是】【什】【么】【样】【子】【的】【呢】,【难】【道】【男】【明】【星】【卸】【妆】“【见】【光】【死】”?【今】【天】【就】【一】【起】【来】【看】【看】【当】【红】【男】【星】【卸】【妆】【后】【的】【模】【样】【吧】。

(责任编辑:周祚)

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