Seven Psychopaths

Martin McDonagh has taken a huge beating with his previous films, and Seven Psychopaths was not all that successful despite its stellar cast and promising subject matter. Fortunately, it didn't turn out to be a bad film, but I still think that it could have been made a little differently than by ripping off the Coens and Tarantino. The film moves along thanks to a great soundtrack, and from time to time we get a really good (mostly black) joke... It's just a shame that I found the main character to be completely unnecessary and the way Colin Farrell played him to be very dull. I'm rounding up three and a half stars for the actors (Christopher Walken and Sam Rockwell in particular) and for the whole final part in the desert (including the epilogue), which was really great.__P.S. Most of the scenes I missed in Seven Psychopaths are on the DVD among the scenes that were cut... Well, at least that's something. (12/01/2014)

“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% (28/11/2012)

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 (09/04/2013)

Somehow I naively thought this would be a chillout movie. What I didn’t expect was that the originality would trump any consistency of the movie, and as a result, I had no idea what to think of it at all. Seven Psychopaths is a weird movie.  It’s full of great ideas, but it is hard to get into the story. Colin Farrell is the only relatively normal character in the world of Seven Psychopaths, and it felt as if he was somehow invisible in his role. It’s an irony that a man who is recovering from drinking then plays an old Irish alcoholic. I hope that this label won’t stick with him till his death. (25/04/2013)

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... (18/01/2013)