When I heard about a year ago that a movie starring Mel Gibson and Vince Vaughn was going to be the anti-Black Lives Matter film, I was a little bit excited.

Dragged Across Concrete was written and directed by the weird B-movie Jew S. Craig Zahler, who made the pretty good and relatively politically incorrect western film Bone Tomahawk with Kurt Russell.

So it was believable to me that Dragged Across Concrete, made on a budget of a mere $15 million, could be a gritty and ultra-violent niche film for people who hate blacks.

And that is the way the media was reacting to it.

For example, leftist culture blog The Ringer recently introduced the film thusly:

S. Craig Zahler doesn’t care if you don’t like his new movie.

That’s a relief, because many of you won’t. Like Zahler’s previous films, Brawl in Cell Block 99 and Bone Tomahawk, Dragged Across Concrete is a fifth of genre rotgut, an agonizing and corrosive journey into hell, punctuated by spasms of extreme violence. The title is a warning. The running time, 159 minutes, is another warning. Add to that the casting of Mel Gibson, persona non grata in many circles, and a solid percentage of the moviegoing public won’t make it past the right column of the film’s Wikipedia page. And this is before grappling with Zahler’s politics, which may be significantly more fraught than his harshest critics contend, but nonetheless drift into Breitbartian sentiments about police brutality, racial tension, the scourge of inner-city neighborhoods, and other issues likely to bubble up on grandpa’s Facebook page. Even for those who can stomach Zahler’s work, which can be as challenging in their unusual longueurs as they are in their shocks, a film like Dragged Across Concrete is contentious viewing, especially if you’re not on its ideological wavelength.

But that is not at all what it is.

The only good thing about this movie is the name and the fact that it stars Mel Gibson and Vince Vaughn. Every other aspect of it is severely lacking. A few isolated scenes are okay on their own, I suppose, but the poor dialogue kills what would otherwise be aesthetic.

I’m not even going to bother avoiding spoilers here, so if you’re actually interested in watching this film and want to try to be surprised, you can stop reading. But you won’t be surprised, because the plot is entirely predictable after the first 15 minutes anyway.

The only element of anti-PC ideology in the film is that Mel and Vince, who both play beat cops in a fictional city designed to represent any American urban landscape, are suspended at the beginning of the film for getting caught on a cellphone camera abusing a Mexican drug dealer.

And then there is the plot point that Mel wants to get out of his neighborhood because there are too many blacks and he thinks they’re going to rape his daughter, which is why he decides to go rogue and rob a criminal, which is the actual plot of the film.

Other than that initial setup, there is nothing shocking about this film. The level of political incorrectness in it is nothing compared to the average Eastwood or Bronson film from the 70s or 80s.

In fact, bizarrely, Vince Vaughn’s girlfriend is black. And the only reason you would make that decision when casting this film is to say “this isn’t at all racist,” which defeats the purpose of marketing a B-movie as anti-PC.

And of course, the ultimate hero of the film is a black guy, while the criminal villains are – wait for it – Germans.

The German actor who plays the main German villain is a guy who has played Nazis almost exclusively throughout his career.

Mel and Vince both die trying to take down the Germans and get the money, but the black hero sends a portion of the heist money to Mel’s wife so she can get out of the dangerous black neighborhood.

So basically, this film is a “I specifically requested the opposite of this” situation.

The only possibly redeeming quality is that Mel and Vince are not portrayed as “evil white men,” but instead downtrodden anti-heroes who are “just doing what they have to do to get by in the world.”

Aside from the political and ideological messaging of the film being problematic, every other element of the film is problematic.

It is like it was written by a middle schooler. The dialogue is stilted and awkward, the characters are only as moving as the actors playing them, and the plot is barebones.

Towards the end of the film I found myself thinking “well, at least there aren’t any plot holes in the film, which is saying a lot for a modern movie” and then a stupid plot hole was simply dropped in for no reason other than to make the black hero seem very smart.

The direction was okay, to be fair. Some of the scenes pulled off the “gritty hardcore violence” bit very well, and tension was sufficiently built.

The two minute scene with Don Johnson as the police chief giving them their suspension and a lecture about how “times have changed and everything is political now” was pretty okay.

There is a small vignette that shows a woman, played by Jennifer Carpenter, who has recently had a baby and doesn’t want to go back to work arguing with her husband about how she wants to stay with the baby.

Her husband forces her to go to work – because she makes more money than him at the bank – where she is killed by the Germans. That entire bit was well done. The bit itself is very cliche, but cliche was what was advertised, so Zahler at least delivered on that little part.

The film is nearly 3 hours long, however, and the “oh that was neat” bits are few and far between. The final shootout is a letdown, and you are left feeling as though you’ve been tricked into wasting three hours of your life.

I do not recommend this film be watched even out of curiosity. It is not worth the time.

If Mel Gibson wanted to make a politically incorrect 70s-style buddy cop thriller with Vince Vaughn, he should have just written and directed it himself. It is somewhat impressive that the film was made on $15 million dollars, and if Mel had done that, he could have just distributed it himself and put out a movie that was actually good.

I understand that Mel is in exile from mainstream Hollywood because of that stuff he said about the Jews when he was drunk 15 years ago, but a low-budget movie is a low-budget movie, and no one is stopping him from making those.

A film about two racist cops who go around beating up and humiliating minorities? And they’re the good guys? There is a God after all – and he’s Alt-Right.

Mel Gibson and Vince Vaughn are widely known to be the two most right-wing Hollywood actors – by far.

Though these days, James Woods is clawing his way up the ranks.

Either way, the fact that they’re co-starring in a new movie is already great news. The fact that that movie is the White nationalist version of Inglorious Basterds brings the whole thing to another level though.

Daily Beast:

Two years ago, the Venice Film Festival hosted the world premiere of Hacksaw Ridge, a World War II drama directed by Mel Gibson. The film marked Gibson’s first turn behind the camera in a decade, since he’d drunkenly slurred “the Jews are responsible for all the wars in the world,” pleaded guilty to battering his then-partner Oksana Grigorieva, and was caught on audio saying she was “asking” to be “raped by a pack of n****rs.” Despite never demonstrating much in the way of genuine contrition, he was treated to a prolonged standing ovation on the Lido—the opening salvo of a “comeback tour” replete with rave reviews, a $175 million box office gross, and six Academy Award nominations. This fuck you attitude, coupled with a rich history of racism, misogyny and homophobia, has elevated Gibson to folk-hero status among the far-right. He is their Oprah.

And they’re going to be very happy with his new film.

Damn. I fucking wish Mel had his own daytime TV show like Oprah does, and he can review books and bring guests on and shit.

I could watch him twirling his beard all day, as he reviews Ford’s “The International Jew.”

Making its world premiere in Venice, Dragged Across Concrete’s premise is as follows: a pair of detectives, Brett Ridgeman (Mel Gibson) and Anthony Lurasetti (Vince Vaughn) are caught on tape applying excessive force to a Hispanic prisoner in handcuffs, in the form of Ridgeman grinding his boot into the man’s neck until it emits a cracking sound. (During the bust, Ridgeman and Lurasetti also mock a scared, naked Latina suspect, claiming they can’t understand what she’s saying due to her accent. Both scenes are played for laughs.) With the tape destined to go viral, Ridgeman and Lurasetti are suspended for six weeks without pay, though the chief of police (Don Johnson) is sympathetic to their plight, delivering a rambling sermon about how being branded a “racist” today is akin to getting labeled a “communist” in the 1950s—or, to quote the president, this is a WITCH HUNT! and these two violent cops are the real victims.

I- I have to watch this movie.

Scenes of cops brutalizing and ridiculing brown people as comedy?

Is this even allowed now in Hollywood? I guess not.

Though a six-week suspension seems like a mild punishment, especially considering this is the third time Ridgeman’s been busted for using excessive force, he is in desperate need of cash. You see, his wife Melanie (Laurie Holden) has MS and his daughter is bullied by black kids on her four-block trek to school. Worried that those same black kids will rape their daughter once she matures, they vow to move to a better neighborhood (presumably one with less black people). “I never thought I was a racist until living in this area,” Melanie says, her husband nodding in agreement. So Ridgeman cooks up a plan to rob an out-of-town crook, and ropes in Lurasetti with a Forgotten Man spiel: “I don’t politick and I don’t change with the times,” he explains, lamenting how that matters more in today’s world than “good, honest work.”

Damn. It looks like the whole movie is full of frog whistles.

Things don’t go as planned, of course.

Dragged Across Concrete is written and directed by S. Craig Zahler, whose previous film, Brawl in Cell Block 99, also bowed in Venice. Unlike Brawl, a slick work of poetic brutality about a hard-on-his-luck pugilist (Vaughn) who’s forced to smash in skulls to save his pregnant wife, Zahler’s latest is a cold-blooded saga that revels in the violence it inflicts on women and minorities, in particular. Its two most sadistic scenes consist of a newly-minted mom whose fingers and face are shredded off with a machine gun, and a black man (Michael Jai White’s Biscuit) who is graphically disemboweled in order to retrieve a swallowed key. After removing his heart and intestines, a white henchman warns another not to puncture his liver because “it stinks… black guys especially.”

I’m feeling so refreshed reading all this.

There’s a lot more objectionable nonsense in this film, from Gibson and Vaughn’s characters prattling on about how gender lines have been erased, to a black character (Tory Kittles’ Henry Johns) whose grammar is constantly corrected by the white men around him, to a black woman who rails against her “cock-sucking faggot” of a husband for leaving her for another man.

Okay, so I have a vague suspicion that the ending will somehow have a subversive twist to it. After all, the writer and director is some sort of weird satanist Jew.

Craig Zahler.

However, he’s a Jew who apparently dgaf. In the previously linked interview, he says he doesn’t care about Mel’s past, and regularly enjoys works of art by anti-Semites like Wagner and Charles Dickens.

He also says he doesn’t like movies that shove “tolerance” crap down viewer’s throats.

Riot Fest:

“Lack of pretense couldn’t be more important to me in a picture,” he continues. “I suppose that’s the movie that isn’t the genre movie—something like an Academy Award-winning Moonlight or 12 Years a Slave. I think that both of those are pretty good movies and have some real strong stuff in each of them. But to me, these are dramas, and that’s a genre. In particular, there’s an agenda that’s driving both of them, which in general is not my favorite kind of picture [where] the message is … subtler and mixed in, rather than, ‘Here’s what this movie’s about, and it’s going to let you know, be more tolerant of this and bullying is that and accept this other group.’ I understand that that serves a point for people, and that drives a lot of people to make movies, but it doesn’t drive me to see them, and it isn’t where I come from.”

One of his previous movies, Bone Tomahawk, was about cowboys slaughtering vicious cannibal natives.

So his schtick seems to be making hyper violent, politically incorrect movies. This might be surprisingly free of politically correct spin, as it seems to rub against this Jew’s “esthetic.”