With fairly cursory critical discussions, perpetual plot
synopses, and adjective - driven lauding («an acidulous commentary on class» or «a masterclass in
film acting,» to name a couple) in place of detail - driven social criticism, Forshaw has placed himself between a Brighton Rock (1947) and a Kill List (2011), casting his historical net
too wide
for anything more than introductory textual assessment.
(SPOILER WARNING: Due to the «unique» editing style of 21 Grams, one doesn't truly grasp the story until well into the
film, but I have to offer some sort of plot
synopsis for this review, so I'll outline the story in a manner that doesn't give
too much away.)