Solet has turned out a very slick product and handles some of the action with brio, particularly a chase-across-buses set piece. But with too little freshness for crime-drama devotees, too many furry corpses for animal lovers and a thoroughly predictable wrap-up, Bullet Head ultimately screws the pooch.
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Is Bullet Head good? In truth, it’s drab, derivative and more than slightly silly, but it’s tough to dislike like a movie that proceeds as if the 1990s cycle of Quentin Tarantino knockoffs never ended and that uses the prospect of gory canine violence in service of loud and persistent pro-dog cheerleading.
The result is a film that somehow manages to be fairly watchable, yet nonetheless really needed intervention from the conceptual stage onward.
The film's main draw is its cast, all of whom have seen more illustrious career days but nonetheless can still deliver the goods.
As a perilous dog-and-mouse game ensues, Solet packs his script with tension, dimension and several vivid flashbacks recalling the characters’ seminal encounters with dogs. Cool camerawork too.
Despite featuring emotionally static characters who undergo no personal development and having the structure of basic robbery-and-chase setup, Bullet Head is the kind of action film that throws mindlessness to the dogs.
Writer-director Paul Solet serves up some intricately choreographed and creative action sequences and some gruesomely realistic violence.... Mostly, though, Bullet Head is about the characters and the crackling dialogue, and the first-rate actors giving just the right spin to their lines.
It’s the players and their points of view that let Bullet Head score something close to a bulls-eye, even if the shot is fired at easy, close range.
A gonzo ten-minute standoff between Adrien Brody and a man-eating pitbull single-handedly justifies the existence of the otherwise uninspired heist thriller Bullet Head.