Undeniably gripping, Bronson forces the viewer to make some hard decisions about where the line between art and exploitation lies. Read critic reviews
Bronson
2008, Biography/Drama, 1h 32m
82 Reviews 10,000+ RatingsWhat to know
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Movie Info
In this drama based on a true story, there's no one tougher or more brutal in the English penal system than prisoner Michael Peterson, aka Charles Bronson (Tom Hardy). First incarcerated after robbing a jewelry store, the married Bronson is sentenced to seven years. But his incorrigible, savage behavior quickly gets him in trouble with guards, fellow inmates and even a dog. The only place where Bronson can't do any harm is in solitary confinement, where he spends most of his time.
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Rating: R (Language|Graphic Nudity|Sexuality|Violent and Disturbing Content)
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Genre: Biography, Drama
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Original Language: English
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Director: Nicolas Winding Refn
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Producer: Rupert Preston, Daniel Hansford
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Writer: Nicolas Winding Refn, Brock Norman Brock
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Release Date (Theaters): limited
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Release Date (Streaming):
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Box Office (Gross USA): $104.8K
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Runtime:
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Distributor: Magnolia Pictures
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Critic Reviews for Bronson
Audience Reviews for Bronson
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A very arty look (a nod to All That Jazz is not inappropriate) at a knucklehead sociopath who was Britain's most violent prisoner. Hardy is good at it, but the gist is rather horrorshow on the ultraviolence side (nod to Kubrick's masterpiece also appropriate).
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Holding viewers in a balled fist, this beautiful fit of madness features some ace manipulation on the part of the director but make no mistake about it: the player's the thing. A performance piece about a performance piece, this slice of pitch-black comedy tries getting at the heart of darkness of a psychotic method actor who's taken on the role of murderer. Though not everybody's cup of team (think: One Flew Over the Cuckoo's Nest meets F For Fake), this meta put-on defies you to look away. In this R-rated crime-drama from Nicolas Winding Refn (Drive), a young man sentenced to seven years in prison for robbing a post office ends up spending three decades in solitary confinement where his own personality gets supplanted by his alter-ego, Charles Bronson. Already demonstrating the A-Level immersive skills that would serve him well in Warrior, The Dark Knight Rises (as Bane), and Locke, among others, a believably vicious but charming Hardy proves utterly irresistible. Though the actor sits center stage, Refn holds the spotlight steady, pulling the Kubrickian strings of this dark and bitter but humorous character study. Bottom line: Crazy Eight to Ten
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If one thing's for certain, it is that Tom Hardy's unapologetic and powerhouse performance could lift walls. Winding Refn's introduction to UK territory oozed his more recent trademarks. Passing from being a hyperactive director of absorbing crime-oriented minimalism, he now began to develop a well-balanced frame that never lost its balance and aesthetic focus of things. Another trademark added to this was his use of amber illumination that used red, brown and yellow colors to accentuate particular devastating emotions. Not to imply that his previous style was better than his new one, it is a sign of Refn's versatility and his justification to provide a heavy percentage of style to the overall content of his films. This might not be approved by all, as things have indicated, but it is merely an artistic decision. His attempt to construct an autobiography of "Britain's most famous prisoner" falls short in certain aspects while attempting to outstand in others. For starters, this was a relentless vehicle of popularity for Tom Hardy to be considered as a serious actor. His portrayal of Charles Bronson irradiates brutality and ferocity, with no hesitation in front of the screen. Maybe it was a streak of luck for Refn for his style to correlate nicely with the bleakness of this autobiographical attempt along with Hardy's iconic image and physiognomic gestures probably inspired by Daniel Plainview's character in.<i>There Will Be Blood</i> (2007). I wouldn't say so. Refn knew how to apply an engaging visual style beforehand that could identify him as a director. Taking those elements aside, nothing much remains. The film is experimenting, which is something I applaud, but at times it once again tries to come back to sentimental territory which keeps distracting the viewer to the real intentions of the film. With this, the screenplay is uneven in quality and several character connections that Bronson establishes are left unfinished, which makes one think whether if telling Bronson's story was actually a viable idea storywise. Even the 92-minute length is a sign of this. Characters appear and disappear, not really caring about their lives. It is a central character study with more style than substance that was necessary for Refn to find his definitive stylistic approach in his more recent controversial deliveries starring Ryan Gosling. Nevertheless, certain sequences are entrancing to watch, particularly the opening scene, the "Lynchian" segments used to introduce certain acquaintances, and the interesting idea of utilizing an allegorical audience stage as an imaginary opportunity for Bronson to speak out ideas that he probably felt were left underappreciated regarding his own "philosophy of life" and view of things. 75/100
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