Australian screen icon Mel Gibson is arguably at his best when embodying a protective and powerful father figure. We’ve seen it in his previous works The Patriot, Ransom and Braveheart and now we get the pleasure of a return to such roots in his latest comeback attempt Blood Father (2016). Having been caught up in a string of personal and public problems, the star’s atmospheric action-drama serves as redemptive piece for both character and actor, questioning just how far a man will go for forgiveness. Despite a number of flaws, including the monotony of treading the same beaten path as many before it, Blood Father is equal parts a hidden gem, full of charismatic central characters and amped up action.
An adaptation of Peter Craig’s novel of the same name, Blood Father is a stunning film stuck in the shell of a B-Grade movie, full of clever characterisation and dynamic dialogue. Its plot is simple enough, following the relationship between ex-con and recovering alcoholic John Link and his estranged daughter Lydia. Used to finding comfort at the bottom of a bottle, Link is struggling to stay sober and maintain a life on the straight and narrow, as a simple tattoo artist living in a beaten down trailer park alongside his sole friend and sponsor, Kirby. Just one year out of jail his world-weary life is upturned once again though, when he receives a call from his missing 17-year-old, who has got herself into a spot of trouble after shooting her drug-dealing boyfriend in the neck. When both cops and cartel come a-calling for her, Link must rely on his old friends and foes to find a way to protect her and prove that blood really is thicker than water.
The relationship between the two leads is clearly the standout of the film, as Gibson and Erin Moriarty share quips back and forth in a genuine and endearing interplay. Where there is blood, so too is there banter and heart-warming humour. A number of great supporting characters help fill-out the film too, from Diego Luna’s sleazy boyfriend Jonah, to Thomas Mann’s quirky motel clerk Jason. Out of the bunch the only gripe comes from the under-use of William H. Macy, whose character Kirby receives about as little growth as the weeds in the scenic desert setting. Gibson meanwhile is perfectly cast, with art imitating life for the man who struggled with drug and alcohol addiction for the better part of this century. The film is not just his redemption, but is a look at what happens to the bruised and broken men Hollywood discards. Just as Link is a tortured soul, a man who has misplaced his own purpose as easily as he has lost his daughter, so too is Gibson wandering and waiting for the chance to payback on his penance.
The humour in Blood Father is as off-beat as the film itself, with Link musing over the destruction of his old beat-up Chevy Nova, not minutes after he was berating it for not starting. Even when the characters are in peril, they still hang hard to such heart, laughing over something as simple as the colour of one’s hair. Gibson has always made his money from his ability to shrug off any situation with a sarcastic swipe and there is certainly no shortage of that here. While most of the humour hits home, the film does fall flat on some accounts. At times the stark transition between the style and themes is more jarring than poetic, leaving you wondering just how much of a hand the studio had in post-production editing. This is never more obvious than when dealing with the supporting cast, with both Thomas Mann and William H. Macy’s scenes seemingly slimmed down to better encompass a shorter and more succinct story. While it certainly alleviates the boredom, we never feel like it quite hits the heights it should have.
Marking his first English language film since his 2001 remake of Assault on Precinct 13, director Jean-Francois Richet paints a glorious picture with his choice of cinematography though, from the sprawling sun-splashed deserts through to the stark and sterile lights of the cities. It’s strangely other-worldly, with more than a decent nod to the nostalgia of times past. Sure there may be tumbleweeds blowing down the street, but it’s the sort of place where we would never laugh at such a thing. As the bodies begin to pile up and the adrenaline-fuelled action sequences splatter across the screen, Blood Father leaves us with a sad, sinking feeling, rather than the quiet optimism of mainstream box office blockbusters. And despite the darkness that slowly spreads over the film, there’s nothing more magical than a film brave enough to show that not every story has a happy ending.
Shockingly violent and undeniably brutal, Blood Father catches you off guard when you least suspect, with more than enough double-crosses and dramatic deaths to keep viewers entertained. Despite its obvious flaws, in its simplistic story and been-there-done-that attitude, there is a lot to like and even a little to love in this latest crime caper. For those sitting there on their pedestals, hiding behind their blinkers and ready to let the film fall of their radar thanks to Gibson’s antics, it’s a damn shame. Despite bearing the scars both mentally and physically, he is as willingly as ever to give it his all, for whoever is still patient enough to be watching. It might be a grimy and meandering action-drama that punches above its weight, but just like what Link says about Lydia, Blood Father is every loser’s lucky day.
Rating: 3 Grizzled Gibson's out of 5
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