Nearly no critics did not like this grueling, Django Unchained style film. And what's not to like, unless you are even a little bit squeamish. Then you should probably avoid this Paul Andrew Williams entry. Because it starts violent and gory, and goes downhill from there.
The basic plot is almost too simple to lay out. The story of a brutal Mob Enforcer betrayed and seemingly murdered by the same mob, then miraculously returning to wreak vengeance is so simple, it is, itself a Trope. As many have observed, Neil Maskell is impossible to turn away from as the titular Bull (think DeNiro in Taxi Driver) , and David Hayman is almost better as the "ruthless Mob boss" from Central Casting.
If their great tradition of Mob Cinema is to be believed, the Brits are about the scariest Organized Criminals on the Planet - with the exception of Bratva. I soooo don't want to ever cross Bratva. Nope.
But Bull is not about the acting, or the direction or photography, all of which are first rate. It is about the lean, spare almost anorexic efficiency of how Williams tells the story. This efficiency is enhanced by a great narrative technique: the back-story of how Bull "dies" is told in flashbacks, chronologically, as the main story moves forward. Again, nothing particularly new here, but the technique is used so well it fits perfectly with the films overall manic purpose.
Clocking in at 88 minutes, Bull is a full speed freight train that starts fast and shifts into super high gear, never letting up until its curious Ending.
Yes, about the Ending. WTF? Is Bull actually a Demon from Hell (a la the excellent Nicholas Gage film Drive Angry)? Is this all a fever dream of a slowly dying Bull, who has been lit on fire and shot with a shotgun? We may never know. And that is probably very OK.
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