Why boondock saints is terrible

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Een Russia, mob bosses look unrealistic and just straight up wrong YOU! The McManus brothers—princes of morality and angels of death—have no real problem with this. Rocco promises to tip her. Everyone has a good laugh. But the end comes for Rocco soon enough. Hope they tipped him! The hitman ends up being Record scratch. Gay, and a detective? As such, the brothers team up with their dad AND their cop zaddy Willem Dafoe to murder the mafia don during a trial at the courthouse.

Yes, it all tracks. Give me a fucking break with this shit. The reactionary element in Hollywood, like the one in America at large, is comprised of trolls.

One need only look to the alt-right for recent examples. Both Boondock Saints and its sequel have a similar scene the two movies are pretty much the same where Troy Duffy takes a halfhearted stab at doing meta stuff. In the first one, upon arming themselves for their first assault, one of the guys whose names I never bothered to pin down Sean Patrick Flannery remarks that they should take some rope on their first mission, as the people in action movies always end up needing rope.

And in Boondock Saints II, the same fucking guy confesses that he formulated yet another rope-based plan based off the Clint Eastwood film The Eiger Sanction, which, again, should not work, but which again works beautifully. I watched Natural Born Killers just last week. Based largely off these two scenes, Troy Duffy and Boondock Saints apologists have made the case for these movies as an extended satirical riff on the American action vernacular, with a particular focus on the vigilante film.

Moreover, the idea that these scenes are supposed to clue you in to the movie being a satire is insulting. Troy Duffy is too incompetent a director to establish a tone that would support such an assertion. Sure, The Boondock Saints may be gratuitously violent. Sure, all the characters may be ridiculous caricatures spitting tough-guy half-witticisms over each other. Sure, it may promote a reductive and harmful perspective on urban crime. In a word: ugliness. It plays completely straight that which other movies treat as overblown cartoon or ironic tragedy.

A reasonable person watching this movie would have to conclude that the brothers just love murdering and do so at the slightest excuse. The movie begrudges them a single humanizing touch: In Death Wish , the first time Paul Kersey Charles Bronson beats a mugger with a sock full of quarters, he runs home and nearly vomits from the shock.

In The Boondock Saints , the first time the brothers massacre a room full of Russian gangsters, they respond with giddy, unmitigated joy. This being The Boondock Saints, this scene is played for laughs. Pictured: Comedy.