Triple 9 (2016)

The shifting loyalties and treacherous power plays that go on in Triple 9 are engaging, but Hillcoat especially shines in a series of three taut life-or-death sequences — one at the start of the film, one near the middle, and one at the end — that articulate more about who these characters are than anything they say.

This is the anti-Heat: no sheen, no shimmer, no obsessing over highly grandiose themes and precise compositions; just grime and desperation.

There may be little here we haven’t seen before – glassy reflections of Michael Mann’s Heat pop up everywhere you look – but it’s all carried off with brashness and momentum by a director who genuinely seems to be having a blast.

Well suited to Hillcoat’s gifts for low-boil suspense and brutal eruptions of violence in close, male-dominated quarters, the film has grit and atmosphere to burn but also a certain narrative sketchiness, as though unable to reconcile its sharp sociological portraiture with the pleasures of a more robustly plotted crime yarn.

The interesting world of the film doesn’t get the story it deserves.