Gun for Hire

Having followed director Jesse V. Johnson's career since 2002's "The Honorable" it's amazing how quickly he has evolved into a top notch action director in such a relatively short period of time. The man has toiled away and paid his dues so it's nice to see his skill is becoming recognized by his peers, allowing him to recruit some great talent. His 2009 film The Butcher slowly builds up momentum towards a brutal action packed finale. It does so skillfully and all the while remained interesting, unlike say for example "The Kingdom" starring Jaime Foxx which had dull dialog and uninteresting characters for three quarters of the film trusting that the final action packed reel would make up for it (as terrific as it was, it did not). The Butcher on the other hand, has barely a fraction of the budget and fires on all cylinders, well scripted, great leads in Eric Roberts and Robert Davi, excellent cast (including several of the director's "stock" actors such as Keith David, Bokeem Woodbine, and even a cameo by the Pitfighter himself Dominiquie Vandenberg), grade A staged action with superb stunt work, one of the best musical scores I've heard in some time, even a beautiful Dodge Charger and eclectic mix of firearms. Recommended!

While Isaac Florentine has a death grip on the title of "best direct-to-video action director," Jesse V. Johnson is definitely a runner-up. More restrained than Florentine, Johnson displays a particular aptitude for character development and storytelling, and in no instance more so than the vehicle crafted for star Eric Roberts. While not the action-packed extravaganza that I had been hoping for, it is an excellent crime-thriller that proves the cinematic experience is possible on a small budget.

The story: Double-crossed by the underworld syndicate employing him, a washed-up debt collector (Roberts) strikes back by stealing a multimillion dollar take.

With a 113-minute runtime, THE BUTCHER is a longer-than-average low budgeteer, but makes it worth it by building up its characters and allowing the actors to amply show their acting chops. This investment, in turn, is made worth it by the seriously good cast. Cult star Eric Roberts has the same natural charisma as David Carradine or Lance Henriksen, making any scene he appears in entertaining by default. Villain Robert Davi is in a similar league and for all the seems like he was gearing up for a BOARDWALK EMPIRE audition. Also in the credits are the spectacular Irina Bjoerklund, Keith David, Geoffrey Lewis, Bokeem Woodbine, and Michael Ironside – occupying roles of varying sizes but all working towards my general impression of "Wow, I forgot that movies like this could have good acting in them!" The story they perform is a slow burner, sometimes too slow for my liking, but the atmosphere it creates along the way is excellent and its avoidance of cliché is welcome.

The one bad thing about the story is that it comes at the expense of the action, which – despite the claims of the DVD case – is not evident "from start to finish." Uncharacteristically for the director's movies, there is very little hand-to-hand content, which is disappointing considering the supporting cast's inclusion of Dominquie Vandenberg, Dan Southworth, and Jerry Trimble (who gives a surprisingly wicked dramatic performance). Its focus is on gunplay, but you'll have to wait until the second half to see anything substantial. There are three big shootouts, and while most of them lack overall creativity, each features at least a couple moments of cool absurdity. Roberts shoots through a brick wall with a shotgun to dispatch an enemy, and later grabs a decorative Browning machinegun to take on a club. The final shootout in a bar makes up for a lot with its hyper-violent choreography; it's worth waiting for.

When I think of "bad" B-movies of the pre-2000s, I think of poorly-made shlock. When I think of "bad" B-movies of the 2000s and beyond, I imagine well-made but dramatically vapid shlock. It's nice to come across a movie that makes such a point of avoiding both pitfalls, and it's good to know that there are indeed filmmakers out there who take this particular tier of filmmaking seriously. While I really wish there had been more action, THE BUTCHER is worth at least the price of a rental.

This is one of those movies where the "hero" uses one or two pistols to take out scores of bad guys shooting at him with machine guns. Yep, that's believable - not - but still kind of fun. So, 4 stars.

Over-the-top violence with an incredulous plot line. Why the police never catch up to this guy just further eludes to the fairy-tale concept. Reminds me of a film noir minus the black and white. A lot of 1940's themes, cheesy lines and concepts set in the modern age. The movie is filled with violent bloodbaths mirroring that of a Steven Seagal fight scene. How this guy comes out on top is clearly some well executed choreography. It leaves the viewer in utter disbelief. It basically takes a turn for the worse and loses momentum like a lead balloon like the director gained a terrible drug addiction and just didn't care anymore. I almost feel like I've been violated. This one is probably a good film if you're on a psychedelic drug because it is all hype and little else.

I had no expectations for this movie. From the title I guessed it was a B-grade slasher flick of some kind.

What I got was something completely different.

The Butcher is a dark and gritty story about a man with nothing to lose, made in the style of the classic movies of the same kind in 70's.

Eric Roberts is good in the title role and most of the actors do their job quite well.

The action is raw and naked without being over the top and the overall feel and atmosphere is gritty and dirty.

I recommend this film for people who like gangster and action movies from the 70's.

7/10