Payback

A rakish, hardheaded gangster played by Mel Gibson, the pretty blonde he cares about, a couple of dumb corrupt cops, a pile of violence, some sado-masochism and, mainly, a dozen goons whose “coolness” increases as they gradually get to know each other, from the biggest bungler to the biggest, toughest and most uncompromising boss. And all of this wrapped up in nostalgic, grey-blue camera filters and hellishly black humour. A delicious treat! (10/08/2002)

I really didn’t expect this to be such a stylized hit. I usually associate Brian Helgeland with quality screenplays, but here he not only took on the director’s chair but also created an incredibly old-school detective film in every way. Mel Gibson fit the lead role perfectly; his character, Porter, took his quest for revenge (which is more principled than personal) perhaps a bit too seriously, ruthlessly eliminating one villain after another. However, he can’t be classified as a hero; rather, quite the opposite (he hardly smiles throughout the film, making him someone you’d prefer to stay on good terms with at all costs). The dark blue filter had a certain visual appeal; at times, I wondered if the film was inspired by a comic book. The film also doesn’t lack originality, offering a few carefully crafted plot twists that genuinely surprised me. By the end, it picked up considerable pace, with perfect one-liners escalating exponentially, and I’m simply amazed. In terms of the genre, few films can compete with it; such a stylish, dark noir crime film is a rare sight. I give it 87%. (05/05/2019)

When it premiered, I gave Payback 4 stars and I must admit with a certain blush that it charmed me in its own way - and I am not a fan of the genre or even Mel Gibson. It is a film made with ease and it is straightforward, simple, genre-pure, and a cool ride where the pace never slackens and the usual clichés are presented tastefully and with a pervasive sense of irony. On the other hand, as the years went by and I read the book, it impressed me much more with its darkness, complexity, and ambiguity. Besides, it is impossible not to notice how the film approaches the character of the violent, murderous, and thieving protagonist, presenting him to the viewer as a likable rascal. This story is hard to believe, and I left behind my teenage years when I would have identified with this portrayal a long time ago. Overall impression: 60%. (27/05/2020)

Genre-wise Payback is essentially an unclassifiable film. It doesn't have a classic plot, it doesn't distinguish between good and evil, and it also doesn't map out the actions of the main characters. Mel Gibson is a man of moral principles and that's where it ends, he can't be called either “good” or “bad”, and perhaps that's exactly what makes Payback such a stylish ride. Of course there is also a polished formal side (filters, sets, cinematography) and a few gems (sadomasochism, a parade of bosses, corrupt cops, etc.) that cannot be overlooked and are captivating matter what you think of them. The plot is basically banal, but everything works like a well-oiled machine. Brian Helgeland is damn well aware of the squalor of the material and doesn't give the viewer a chance to realize this fact, bombarding them with one stylized shot after another and with main characters so interesting that it's hard to believe. (09/03/2007)

A brilliantly built-up thriller with a pace that is simply unreal in the second half. And yet so little is enough... Just steal $140,000 (no, sorry, just $70,000) from Mel Gibson and you'll unleash the kind of carousel of murders, shootouts and badass one-liners that we only remember from the first Die Hard. Gibson shines in his role and enjoys it to the fullest, but the supporting characters are also given a memorable portrayal by the actors, whether I'm thinking of the bad guys Henry, Kristofferson and Coburn or the pretty sharp hooker Lucy Liu. Simple, straightforward, harsh – just the way it should be. (23/07/2012)