Free Fire ***½|****

Michael Smiley and Cillian Murphy in Free Fire
English director Ben Wheatley follows his dreadfully boring and self-serious High-Rise with a film that recaptures the unbridled madness and idiosyncratic style of his previous effort but puts it to much better use this time around. Free Fire recalls the quippy banter of Guy Ritchie fare like Snatch along with the cartoonish violence of Shoot ‘Em Up and hosts an 85-minute wall-to-wall shootout that justifies its runtime with a bracing fusion of absurd comedy and innovative gunplay. Its apt tagline promises “All guns. No control.” and it ably delivers the goods in a wickedly enjoyable package that left me with wide eyes and a goofy smile on my face.

It’s 1978 and an arms deal, brokered by Justine (Brie Larson) and Ord (Armie Hammer) between IRA soldier Chris (Cillian Murphy) and flashy gun runner Vernon (Sharlto Copley), is taking place in an abandoned warehouse in Boston. The meeting goes smoothly enough at the outset with members of each party introducing themselves to one another but after a pair of misunderstandings (one business related and one much more personal), the deal goes sour and everyone involved is soon scrambling towards the nearest available firearm and taking cover. Negotiations for the remaining ammo and money play out as characters parlay loudly over the sound of errant bullets whizzing through the air.

Keeping track of the stakes and “who’s who” of Free Fire can be a tricky proposition –one character even admits he doesn’t know who he’s aiming for at one point — but the craftsmanship behind the choreography and camerawork is far from haphazard. Some may fault the claustrophobic cinematography that lacks establishing shots that might better outline the terrain but as these are characters who spontaneously find themselves in a volatile situation, I appreciated that Wheatley tends to keep us in the trenches as opposed to giving us the privilege of bird-eye perspectives. He also isn’t opposed to the occasional visual flourish to give some extra flare, like the point-of-view shot of a crosshair as it’s quickly being raised up to the shooter’s eye.

As much as this film has to offer on the visual side of the coin, the sound design is even more impressive when you break down the technical components of making an action movie like this. Not only do each of the weapons that the characters fire have their own unique sonic properties but the sounds of the competing gunfire create a sort of “chatter” of its own kind apart from the actual dialogue that’s spoken. It’s also important that the words don’t get drown out by the gunplay and the voices have just enough clarity to them while still sounding like they’re being spoken in the natural environment; I imagine most of the lines were recorded with ADR but they don’t have that “vocal booth” sterility to them.

The banter that’s spoken between the members of this all-star cast could have been cheeky or a bit too on-the-nose but the screenplay, written by Wheatley with frequent collaborator Amy Jump, is irreverent and playful in all the right ways. It also doesn’t introduce major contrivances to help move the bare bones narrative along; developments arise naturally from the reckless action (or inaction) of its characters and tension is distilled from the fact that they’re primarily stuck in this one location for the entire incident. Free Fire may not aim high with its cinematic ambitions but as the lean and mean action indie that it is, it does the job exceedingly well.