★★★½☆
5 May 2017
A movie review of THE BAR. |
“Two people were just killed and it’s not on the news?” Elena (Blance Suárez)
It seems director Álex de la Iglesia has learnt from his last film, that telling a story about the selfish and self-absorbed, with rat-a-tat dialogue, makes for an energetic comedy. Tying those characters to a survival thriller means you end up rooting for the least worst (and skilfully that keeps evolving). Is this a sly commentary on modern politics, where we depressingly have to vote tactically (to keep out the most dire right-wing candidate) instead of by pure conscience? THE BAR is a misanthropic comedy, and feels refreshing in the glut of sentimental rom-coms and bromances.
It seems director Álex de la Iglesia has learnt from his last film, that telling a story about the selfish and self-absorbed, with rat-a-tat dialogue, makes for an energetic comedy. Tying those characters to a survival thriller means you end up rooting for the least worst (and skilfully that keeps evolving). Is this a sly commentary on modern politics, where we depressingly have to vote tactically (to keep out the most dire right-wing candidate) instead of by pure conscience? THE BAR is a misanthropic comedy, and feels refreshing in the glut of sentimental rom-coms and bromances.
Brimming with confidence, director Álex de la Iglesia opens on a long take as we seemingly meet random people in a busy city. We ending up in the titular watering hole. (Who doesn’t relish a little camerawork showing off?) A weird guy steamrolls in and heads straight to the toilet. That we do not pay him much mind shows how eccentric and solipsistic the rest of the clientele are.
Each of the players is distinct – time and craft has gone into fleshing them out. Most survival movies rarely bother outside the lead(s). They are also distinctly annoying, though not to the point you are indifferent to their fate. We all have at least some grating friends, right?
As one patron leaves, he is shot down in cold blood in front of the bar. This clears the square of consumers out front, and seals the group of 10 or so inside. The attack appears random. When someone goes to help, the Samaritan is slayed too. The customers and staff are effectively trapped. Is this THE MIST or TOWER BLOCK? No demands have been made. Part of the fun is being with them as they try to work out why this is happening, who is the orchestrator, and how to escape.
The audience might wonder if we are in LOST territory. Is it a dream? Are they in purgatory? As none of the protagonists are particularly famous, anyone could be the next victim. Questioning who will make it out always ups the tension. The frustrated bile, emanating from the characters at each other, keeps us awkwardly laughing. They are all human and flawed, niceties largely jettisoned - a commentary on how fragile civilisation really is (and why THE WALKING DEAD is one of the best TV shows right now).
Funny chaotic apocalyptic cynicism, not in the same league as Iglesia's previous, MY GREAT NIGHT, but what is?
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