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The film received several nominations at the 45th Saturn Awards, but was also shortlisted for "Worst Reckless Disregard for Human Life and Public Property" at the 40th Golden Raspberry Awards. Plot [ edit ]
WhatCulture criticized the nominations, saying that "It feels as though voters just wanted to nominate Joker for the enormous social media publicity it would generate, and then shaped a dubious awards category around it. Dragged Across Concrete is an even weirder pick, though, both because of its low-budget nature and the fact that there's not ...
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The Golden Raspberry Awards (also known as the Razzies and Razzie Awards) is a parody award show honoring the worst of cinematic failures. Co-founded by UCLA film graduates and film industry veterans John J. B. Wilson and Mo Murphy, the Razzie Awards' satirical annual ceremony is preceded by its opposite, the Academy Awards, by four decades.
Feb 12, 2020 · Other Razzie Awards include Worst Reckless Disregard for Human Life and Public Property with the nominees being The Haunting of Sharon Tate, Hellboy, Joker, Rambo: Last Blood and Dragged Across Concrete. Considering the fact that Joker has been an awards darling, including the Joaquin Phoenix’s win for Best Actor at the Acadamy Awards, it ...
Dragged Across Concrete is a 2018 American neo-noir crime thriller film written and directed by S. Craig Zahler. It stars an ensemble cast that includes Mel Gibson, Vince Vaughn, Tory Kittles, Michael Jai White, Jennifer Carpenter, Laurie Holden, Fred Melamed, Udo Kier, Thomas Kretschmann, and Don Johnson. The story follows two childhood friends and two police detectives who are suspended for ...
Mar 19, 2019 · Richard Brody writes on “Dragged Across Concrete,” S. Craig Zahler’s crime drama that stars Mel Gibson and Vince Vaughn as cops who are suspended without pay for using excessive force.
Mar 21, 2019 · That said, Dragged Across Concrete is the most strangely impressive genre film since, well, Zahler’s exhilarating 2017 prison melee Brawl in Cell Block 99. Surrender yourself to the director’s leisurely pacing and painfully self-aware patois, and everything starts to feel downright hypnotic. His set-ups are wildly disorienting.
