Ben Wheatley’s ‘Free Fire’ is an Action-Packed Blast of Violent Subversion

Americans love their guns. This country has so many damn guns that we don’t know what to do with them all. When those guns fall into the wrong hands and claim the lives on innocents, our nation doesn’t blame our cultural obsession with firearms; we blame the depiction of violence in film, television, and video games. Fictional representation of guns become a talking point in any debate on the matter, as if you can’t somehow enjoy fictional shootouts featuring professional stunt performers and still think that there should be some added restrictions on the ease of access to high-powered weaponry. Director Ben Wheatley understands that guns can simultaneously be thrilling and terrifying, and he’s crafted a wild shootout that captures both ends of the barrel with Free Fire. For 90 minutes, the characters of Free Fire exchange all sorts of gun fire in a movie that is overwhelmingly violent yet can’t be accused of glorifying violence.

It’s 1978 Boston. Frank (Michael Smiley) and Chris (Cillian Murphy) have come from Ireland to America to secure guns for the IRA in their ongoing battle against the British. They’re joined by Bernie (Enzo Cilenti) and Stevo (Sam Riley), two drug users that will serve as the drivers and movers for the illicitly acquired weapons. In the middle, Justine (Brie Larson) and Ord (Armie Hammer) are facilitating a deal between the Irish and Vernon (Sharlto Copley), a South African gun runner with a flair for leisure suits. In Vernon’s corner are Martin (Babou Ceesay), a former Black Panther that handles the money, and the driving duo of Gordon (Noah Taylor) and Harry (Jack Reynor). What should be a simple deal is quickly complicated when Harry notices Stevo, the two having gotten into an all-out brawl the night before. It’s only a matter of time before the first shot is fired and after that there’s no turning back.

Each of these characters walk into the deal packing heat, and Wheatley’s film takes on the futility of the notion of mutually assured destruction. Also in Wheatley’s sights is the notion that somehow more guns can end any violent standoff, as once the first bullet is fired a succession of rounds follow. Soon, the entire social structure that was established at the film’s start comes crumbling down as survival becomes paramount for everyone and old alliances don’t mean that much in the face of gunfire. Don’t get me wrong, Free Fire isn’t a film with overt political messaging going on, but it’s the subtext of the ongoing shootout that makes up the movie.

There are no heroes in Free Fire, only skeezy criminals with their own warped code of honor. When things go south, there’s only two things on everybody’s mind – survival and the suitcase full of money. These large personalities take their stands in various corners of the abandoned factory, and Wheatley and co-writer Amy Jump find ample humor in the violent standoff. Nobody is unscathed once the bullets start flying and these hobbled criminals scramble to get better footing in the fight. There’s a beauty to the simplicity of Free Fire’s story and that doesn’t stop the film from finding ways to keep everything escalating towards the final shot.

The cast of Free Fire is having a blast in their ‘70s attire and distinct personalities. Cillian Murphy and Michael Smiley bring the wry Irish wit to the gunfight. Armie Hammer provides a cool charm to his gunslinger. As the lone woman, Brie Larson is the apprehensive one, having to always contend with the sexual advances from the men. The ongoing hatred between Sam Reily and Jack Reynor provides the spark for the fighting, and their loathing continues until the very end. The real standout of Free Fire is Sharlto Copley who once again delivers a larger than life performance as Vernon. He talks big and acts small, and though it’s never explicitly stated you get the sense that Vernon is jacked up on ample amounts of cocaine in this wildly entertaining turn by Copley.

Free Fire is a down and dirty piece of action filmmaking with a darkly comic streak that runs through its violent exterior. Ben Wheatley has made a fascinating deconstruction of violence, real and cinematic, that entertains and repulses while constantly adding layers of tension to the proceedings. With its simple character dynamics and an efficient running time of just under 90 minutes, Free Fire never overstays its welcome as it quickly ensures that every shot fired is of importance to the narrative, never just violence for the sake of violence. Americans love their guns, and Ben Wheatley understands that is a deadly and dangerous love affair. At least he made Free Fire a smart, fun look at that deadly love affair.