You wouldn't think that a story about the beef hormone black-market could make such compelling viewing. But this foreign film, made in 2012, really stays with you.
It tells the story of Jacky (Matthias Schoenaerts) who is an absolutely stacked, muscle-bound enforcer within the mafia and who controls a large section of the black market in hormone treated beef. The film is really set in two parts: the present day where things go badly wrong after a botched deal/the murder of a policeman, and the past and showing what happened to Jacky. There is in particular an unbelievably traumatic & horrific scene within these flashbacks, which gives the story immense heft.
The best thing this film does is the tension that runs through every second of it. Every character is on edge and the threat is so heavy in the air you can almost feel it hit you. And at the centre is Schoenaerts. This is a staggering performance and he richly deserved the plaudits he got for it. Apart from his physical transformation, his ability to be able to show the intense vulnerability & fear he has is amazing.
Whilst this may be a slow film, it is never a boring one and I was hooked throughout.
With a strange back-story to a gripping personal tragedy drama, Bullhead is the story of an oversized Belgium cattle farmer, Jacky, who is approached by a shady vet with ties to the “hormone mafia” to discuss the beef and steroid trade. Though the train that drives this narrative down its track the crime and murder aspect of this movie is nothing but a wasteful distraction from the far more intriguing personal woes of our cattle farmer Jacky.
Played excellently by a significantly “beefed up” (excuse the pun) Matthias Schoenaerts (Rust and Bone), Jacky uses his easy access to steroids, testosterone and animal-growth hormones to turn himself in to hulking mountain of a man, whose laboured gate and burning eyes intimidate all around him. Yet there is more to Jacky than there seems and we quickly realise that some incident in his childhood has left him damaged – causing him to turn to steroids as an adult. His addiction, whether a compensatory action or the only comfort left to him following some childhood tragedy, is more than enough to hold your attention through the movie’s runtime – unfortunately however writer/director Michael R. Roskam disagrees, insisting on adding the unimaginative crime story. All to the movie’s detriment.
The incident in question, told through a surprisingly late flashback about halfway through the movie, gives an interesting insight into the motivation behind Jacky’s addiction, whilst the incident itself is a rather poignant but common childhood encounter; when the facts of life, women and sex first begin to take shape. Had the movie focused on this, and this alone, it would have been a far more effective piece of drama – the darkness of Jacky’s huge engulfing shadow mirroring the troubles that surge beneath his stretched skin and marked muscles. Instead the convoluted and unnecessary crime plot takes all the limelight from what ought to have been a gripping personal portrait movie.