It's no 'Kill List,' but 'Bull' is a mean and nasty little thriller
Neil Maskell loves a good British crime movie, doesn’t he? If his isn’t a name you’re familiar with, then I’d urge you to check out some of his movies – starting with Bull. Though Paul Andrew Williams’ film might not be the best Brit-crime flick that stars Maskell (that award still goes to the excellent, terrifying Kill List), it’s undoubtedly a stellar little film that deserves a much bigger audience than it currently has.
Bull follows Maskell as the titular mob enforcer, who returns ten years after his apparent murder to exact vengeance on those who wronged him and save his son. A simple narrative? Sure. Effective? Absolutely. It’s a brutal tale of vengeance without glory: revenge without salvation. Williams pulls no punches in his direction, and there’s no glorification on show here: his film is a mean, nasty little thriller that’s at once uncomfortable and exhilarating.
Much of the film’s success lies with Maskell. He’s genuinely perfect as Bull, a man who’s had nearly every ounce of compassion beaten, burned, and shot out of him by those he once loved and trusted. We see in flashbacks that Bull is actually a really good dad, and respectful of his wife’s decision to leave him – but his betrayal at the hands of his family and friends leaves him a broken, vengeful man. Maskell walks the line between empathetic and emotionless beautifully, endearing Bull to us in the film’s flashbacks and allowing us to perfectly understand why he’s so bent on revenge in the present.
What’s strangely beautiful about this is that Bull doesn’t even want revenge for himself: he just wants to save his son. There’s no selfishness in his plans, and Bull clearly doesn’t care what happens to himself, because all he’s bothered about is making sure Aidan is okay. While there’s undoubtedly toxicity at play in many of his actions (a few of the kills feel particularly personal and grim), Bull carries out his vengeance with an urgency that feels necessary for him to save his son: he’s doing the wrong things for the right reasons. The film’s final moments double down on this idea, but to say more would be to spoil a genuinely incredible ending.
It helps, of course, that Maskell is backed up by an incredible supporting cast, of which David Hayman steals damn near every scene. The Taboo and Macbeth alum is perfectly cast as Norm, the cold, calculating antagonist of the piece. He runs the mob that Bull is a part of, and he does it with a ruthlessness that’s chilling to watch. There’s an excellent juxtaposition between Bull and Norm in the way they treat their children (Norm is Bull’s father-in-law) – both men are willing to carry out extremely violent acts for them, but which of them is more loving? Which of them actually wants to be a good parent for the sake of their child, not their own image? It isn’t Norm. Hayman sells every line of his dialogue brilliantly, each syllable dripping with malice: though it’s rare we see him carry out any actual violence, we’re never in any doubt as to who’s in charge.
While it’s the performances that truly make Bull work, there’s a lot to be said for other aspects of the production. Williams’ script is meaty enough for every performer to sink their teeth into, and everyone has a great time with it. It’s also neat to see a British production that doesn’t just feature Londoners – there’s a great range of accents on display here, and that’s something we don’t get often enough in British movies (see also: Ali & Ava).
The editing stands out as a particular high point in the film. The cuts between past and present are seamless and easy to follow, with a distinct feeling of urgency in the latter scenes that marks them out as more stressful. It’s also a beautifully paced film, taking its time to begin with as Bull starts picking people off one by one, then descending into chaos in its final ten minutes. For anyone looking for a new Brit-crime thriller with a distinctly hardened edge to it, you won’t go far wrong with Bull.
Verdict:
Anchored by a stellar lead performance from Neil Maskell, Bull stands tall as one of the great Brit-crime thrillers of the last few years. It’s brutal, yes, but almost equally as tender as its protagonist desperately tries to find salvation for the ones he loves. And that ending is sure to stick in the mind for days afterwards…
8/10
Bull is available on digital platforms from April 8.
Images courtesy of Signature Entertainment. All rights reserved.