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In the follow-up, the tale is merely straightforward. Not terribly complex, of course, but clever. It was a fun meta-narrative about the relationship between an author and his own dark creations. The climax of that film featured Stine (played by Jack Black) writing the ending to the story as monsters tried to break in from outside. Stine, the original author of the Goosebumps kid novels, appears in the film to explain that his horror stories are literally contained in his books, and opening those books unleashes the monsters into the real world. The only slo-mo comes when the first bullet is fired, a heady tug on the audience - not to rejoice - but to wallow in the moment when everything all goes irreparably wrong.Rob Letterman's Goosebumps feature film from 2015 featured a novel premise, originally conceived by Scott Alexander and Larry Karaszewski: R.L. There's no Tarantino-styled bursts of bright-red blood (resurrection from from '70s exploitation), no barely damaged heroes, and no "Matrix" or John Woo-styled slow motion that luxuriates in flawless dodges or perfect shots. This crooked ensemble fires off shots that realistically send them sprawling to the ground, forced to wriggle like worms to avoid barrages of bullets, chucked rocks, or the eye-line of in-peril associates. But there's a wildness and unexpected authenticity here that Scorsese's gunfights never offered.
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"Free Fire" is a sneering celebration of traditional machismo that recalls Scorsese's "Goodfellas," from the sensational suits to the explosions of hard-R curse words, and a catastrophic catalyst born from impugned family pride. Like when one junkie asks another for "headache medicine" and is offered heroin, he quips, "Talk about a sledge to crack a walnut!" Or when the boisterous Ord (Hammer) riles Frank (Smiley) by suggesting he go jack off before the deal kicks off, you know, to release tension and relax a little. The sides are hastily established in scenes of brief but biting dialogue. Rounding out their crew is a bearded, burly and beaming Armie Hammer, a weedy Noah Taylor, and a fiery and irreverent Jack Reynor. She's the liaison to a peculiar pair of gunrunners, one a former Black Panther (Babou Ceesay), the other an "English/South African" big mouth with a fetish for pristine leisure suits (Sharlto Copley). It's a troublesome start, but nothing that rattles Justine (Brie Larson), a cool blond with no-nonsense attitude and an air of invincibility. With him, he's brought muscle in the form of a glowering old-timer (Michael Smiley), and a pair of smack-talking smackheads (Enzo Cilenti and Sam Riley). Cillian Murphy stars as an Irish Republican Army operative seeking to buy 30 automatic rifles. The deal goes down in 1978 Boston, in an abandoned warehouse that plays as the perfect setting for all hell breaking loose, with sprays of bullets, tears of screams, showers of rubble, and so much shredded polyester blazers. In his follow-up to the unrepentantly deranged class-conflict thriller "High-Rise," Wheatley unfurls a motley crew of criminals, who've come together for a high-tension arms deal that quickly descends into a vicious and blood-drenched mayhem.
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English director Ben Wheatley guns for gangster greatness with "Free Fire," a prolonged shootout that plays like it’s the bastard child of Martin Scorsese (who boasts an executive producer cred).