For those weary of parsing which part of the post- Dirty Harry , post-Tarantino cops and robbers homage is demonstrating its fondness for the genre and which is just declaring it, writer and director John Michael McDonagh’s The Guard is more exhausting than entertaining. Ideally one would have better things to do while in the act of watching a movie — like say watching the movie — but from its assaultive, nihilistic prologue to its last flat invocation of American culture, The Guard foregrounds the extent to which it is leaning on artifice and affect to get over.
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REVIEW: Flailing Don Cheadle and Brendan Gleeson Can’t Rescue The Guard
