Seven Psychopaths

In Bruges was more magical, more atmospheric and more cohesive, but I have a weak spot of weird meta stuff like this. Brutality, black humour, a psychopath at every turn and constant self reflection through the character of the screenwriter, Marty (an excellent Farrell, compensating for this year’s pointless Total Recall), and his script of Seven Psychopaths. Yeah, the film’s protagonist is writing the script of the film where he’s acting. That says everything. On the one hand, it’s a bit like covering your own ass (anything can happen and everything can be explained). On the other, it’s a chance to unleash the screenwriters and have fun writing and filming something original. Which to a greater extent they did successfully. McDonagh is awesome. (2012-12-01)

“Psychopaths sell like hotcakes,” Joe Gills said sixty years ago. It’s evident that Hollywood’s affection for psychopaths has only grown since then. Seven Psychopaths is an original postmodern pun (the only film I can think to compare it to is Kitano’s Sonatine) about which probably no one can offer better commentary than Martin McDonagh, who does so through the mouths of his characters. The film’s main value added, the ceaseless self-reflective revealing of the rules according to which films about psychopaths (i.e. a significant part of American cinema) function, raises doubts about how seriously the serious moments should be taken. Whereas In Bruges was gripping as both an existential drama and a brutal black-humour thriller, Seven Psychopaths doesn’t stick around long enough in either genre for the scenes to have a proper emotional effect. The transitions from serious etudes on the topic of “I kill people, but otherwise I’m also human” to gore farce are smooth and the actors play their roles in just the right way that you sympathise with them a little, laugh at them a bit and kind of want to kill them. However, these transitions are constant and sometimes are obviously added in only so that the film doesn’t just go with the flow and come across as ordinary. A drop of normality in this ocean of madness could serve well as evidence that the film’s creator means something seriously and as an emotional point of reference that elevates the film above the level of an evening’s entertainment. However, this is still first-rate entertainment of the with many levels and boasting one of the best (multi)genre screenplays since Inglourious Basterds. 80% (2012-11-28)

Martin McDonagh is my favorite author, I have known that since I saw a performance of his play Orphan West at the Czech Budejovice theater. I was then very sorry that I did not have the opportunity to see the previous two plays that were also performed at the South Bohemian Theater. Specifically, these plays were "The Beauty Queen of Leenane" and "The Cripple of Inishmaan." There's nothing I can do about it, maybe I will see them some other time. At least I could look forward to the film "Seven Psychopaths." More: http://www.filmovy-denik.cz/2013/02/sedm-psychopatu-2012-75.html (2013-04-09)

This is no second In Bruges, but the rest is something I didn’t expect. McDonagh has swapped a smart black-humour tale of human nature and honour for a postcultural uncensored romp a bit in the vein of Pulp Fiction, expanded it with a few racy story detours, and included some memorable characters who can really ruin your life if you mess with them. But Seven Psychopaths has a couple of things in common with In Bruges. First of all, it's the absolutely great cast, including the traditionally unstable Farrell, the peculiar Sam Rockwell, who was probably unintentionally the biggest star of the film, the psychopathic gangster Woody Harrelson, who’s capable of anything for his little dog, and my favourite, Christopher Walken, who once again shows that he doesn't belong to the old guard yet. And then, of course, is McDonagh's brilliant direction, which gives each shot a fresh touch and somehow mysteriously manages to bring a certain amount of humanity to a purely absurd narrative, and to make the viewer feel invested in the fate of the heroes. The last star escaped because of the ending, where the actions of some of the characters were too cinematic and incomprehensible (this was also true In Bruges, but presented in an unforgettable and cinematically imaginative way). Though it's true that the moment Rockwell recounted the dream final shootout by the fire, I had no doubt about the full rating. In any case, McDonagh scores strongly again and given that he is still relatively young, we certainly have more to look forward to from him in the future. 4.5* (2013-01-19)

Nobody writes dialogue and scripts as stupid as Martin McDonagh these days. This one is even more stupid, absurd (in the negative sense of the word) and clueless than In Bruges. I don’t know what this bloke’s playing at, but I reckon we’ll never be friends. If this is supposed to be some fresh, unorthodox direction in contemporary modern cinema, I, as a viewer, don't want to be part of it. Thank God for Tarantino... (2013-01-18)