Vincent Grashaw is one of the most exciting voices in American film today. He's a chameleon who effortlessly weaves between genres, switching things up just as you think you've got him figured out.
His last three films- the Southern Gothic What Josiah Saw, the hard-boiled neo-noir Gangland, and the hard-hitting boxing drama Bang Bang- look and feel distinct; yet each one is instantly recognizable as the work of a talented craftsman exploring his abilities.
Joonatan Itkonen
With Bruton, Grashaw emulates the style of Martin Scorsese and Tom Fontana's Oz, once again embracing what inspires him while proving his skills as a character-driven filmmaker. And while Bruton lacks the ruthless precision of Gangland, it's still an impressive entry in a well-worn genre. As a companion piece to films like Steve Buscemi's Animal Factory or David Mackenzie's Starred Up, Grashaw's work holds up beautifully.
Bruton claims inspiration from a true story, and while major beats probably did happen, it's clear that Grashaw's fascination lies in an entertaining big picture rather than an accurate retelling. In essence, this is a traditional story about hitting the bottom, and the discovery that the climb out involves a couple more visits to the ground floor.
Our hero, Bruton (Theo Rossi), is by his own admission an unreliable scoundrel. He's a drug dealer and all-around bad person, and the first twenty minutes underline that he's in no way a hero. By the time he ends up in prison, it's a combination of bad luck and even worse choices. But even that is a momentary hiccup in a hustle that never ends.
So it's fascinating how Rossi's electrifying performance and Grashaw's finely tuned handling of the material still make us care about him. Rossi is magnetic in a part that could have easily become one-note. Bruton isn't a good person, but that doesn't mean he's unlikeable, which makes for a fascinating contradiction. At every turn, Rossi keeps us on our toes. But more than that, he crafts an entirely believable portrait of a person who has built an armor out of bragaddocio.
In turn, Grashaw's assertive style refuses to glamorize his lifestyle, even as Bruton insists on how well he's doing. It's this no-nonsense directness that helps Grashaw's film stand out from just another Scorsese riff. A lesser filmmaker would lean harder into the Goodfellas of it all, which is something Grashaw adamantly refuses to do.
Even as Bruton's fourth-wall-breaking narration and the nimble camera work flirt with the famous Copacabana scene, watch how Grashaw undermines the fantasy by emphasizing just how sad it all is. Bruton may declare his talent show lunch spread a success, but we can clearly see it's stale bread and juice boxes. Most prison movies end up as one of two extremes: glamorization or sensationalization. Bruton forcefully refuses both. While entirely genre-literate, it sidesteps cheap clichés, and it's a thrill to recognize those moments where we bristle as an expected turn doesn't happen.
Sadly, after an immensely compelling first half, Bruton loses some steam towards the end. Grashaw's storytelling is propulsive and moves at such a terrific pace that by the time we reach a climactic prison break, the third act can't match the chaotic energy. There's a reason for the sudden change, and we can feel Bruton's frustration over the inhumane prison system, but it feels like the film needs an extra twenty minutes to do the story justice.
That final act, with an unexpectedly brisk redemption arc that never feels earned. It works thanks to Rossi's presence, but somehow feels less sincere compared to the intense first two-thirds. Part of that is because Bruton is a highly subjective story, and most side characters rarely get the room to breathe they deserve. I would have loved to see more of the superb Tammy Blanchard, who goes toe-to-toe with Rossi as one of the film's highlights. Similarly, Bruton's ex-wife, Sienna (Aya Cash), and daughter, Crystal (Kayden Brenna Tokarski), remain frustratingly distant, often left playing the part of "anguished family on the phone".
Even with these stumbles, Bruton is a wholly satisfying and mature drama that rewards as much as it challenges. Grashaw is a fascinating filmmaker because he seeks out topics that others have mined for gaudy melodrama, and always returns with something honest and true.
