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It's just when it's deployed, you utterly, utterly feel the impact of it.The centre of the film is a Vaughn-again Vince Vaughn, here playing a man who never seems to get the cream of life by the name of Bradley Thomas.It's established in a tense opening that Thomas - a former boxer - is a man for whom anger simmers under the surface, who makes mistakes, but conversely, he's determined to make his life right.He wants to repair the relationship with his wife, Lauren, played by Jennifer Carpenter. He wants to have a good job, a good house, and a dose of fairness. Thus, he turns to Marc Blucas' Gil, who provides him work running drugs, a task he undertakes with calmness, all the morality he can muster, and a focus on what matters.To project this, Vince Vaughn - a man who was urgently in need of a career resurrection - strips his craft right back and starts again.It's been a long time coming, but his still, resolute performance, and the sheer physicality of his work, arrests you early and doesn't let go.He is the absolute centrepiece of this film, and he knows how much rests on it. That said, there's not a prominent character here who make some kind of impact.He gives us the kind of controlled, determined acting I forgot he could do, his eyes doing work that previously he'd have called on two pages of dialogue for. Udo Kier, for instance, takes a cameo that pretty much frosts the screen. Don Johnson, meanwhile, inhales his tobacco and lays down his own law as the kind of prison warden who, as he effectively admits, Amnesty International wouldn't be too keen on.Zahler's screenplay gives him dialogue that could chill bones just reading it written down. The conviction of the characters is a crucial part of the worlds that Zahler has put on screen in his two films.Movies are very good at setting up horrible situations, and then finding cheating ways out of them.Zahler has absolutely no shrift with that, and the consequence is that when a character makes a threat in his work, you have zero doubt that they'll carry it out if they're not stopped.