Big Bad Wolves (2013)
Directed by Navot Papushado
The twisted paths of three very different men brutally collide due to a chain of unspeakable murders: a grieving father who has been doomed to seek vengeance and a police detective who boldly crosses the narrow boundary between law and crime meet a religion teacher suspected of being the murderer.
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What critics compared Big Bad Wolves to
Not for the faint of heart, Ramsay's story of young girls stolen by powerful men nods to other recent powerful works with similar themes, like the 2011 Australian film Sleeping Beauty or the 2013 Israeli thriller Big Bad Wolves, minus their fairy-tale symbolism.
Not for the faint of heart, Ramsay’s story of young girls abducted by powerful men nods to other recent works with similar themes, such as the 2011 Australian film Sleeping Beauty, or the 2013 Israeli thriller Big Bad Wolves (minus their fairy tale symbolism).
“Gunpowder Milkshake,” as directed and co-written by the Israeli filmmaker Navot Papushado (“Big Bad Wolves”), unfolds in a candy-colored action dreamscape that feels like the Netflix version of a Tarantino theme park.
Director Navot Papushado (“Big Bad Wolves”) dives into “Kill Bill” and “John Wick“ territory, for a stylized action flick that reminds us in the immortal words of James Brown, “This is a man’s world.”
The central problem with Gunpowder Milkshake is that director Navot Papushado (the Israeli cult hit Big Bad Wolves) fundamentally misunderstand the appeal of the Wick films.
All that said, if Israeli B-movie maker Navot Papushado (“Rabies,” “Big Bad Wolves”) had kept this thing on its feet and sprinting — fewer pauses for motherly pathos, Spaghetti Western face-offs, etc. — “Milkshake” would have gone down easier, no matter how much gunpowder was used.
Director/co-writer Navot Papushado ( Big Bad Wolves , Rabies ) does nothing with an elite cast.
"Slick and stylish action-comedy" is a change of style for writer/director Navot Papushado, who turned heads in 2011 with Israel's first horror film, the scathing Rabies, and then gave a grisly, cerebral spin to modern noir with crime drama Big Bad Wolves.
For much as Keshales and Papushado’s masterful debut Rabies (2010) used a slasher frame and Coens-style ensemble chaos for its genre-bound commentary on the minefield of Israeli politics, this follow-up imports the twisted tropes of torture and revenge familiar from Korean films Save the Green Planet! and I Saw the Devil (with the odd hammer blow from OldBoy for good measure) to shine a light right in the face of beleaguered Israel’s questionable response to terror.