infamous drunk driving arrest in late 2006, during which he spouted off anti-Semitic insults and related conspiracy theories.
However, save for Martin Campbell’s “Edge of Darkness” in 2010 and Jodie Foster’s “The Beaver” in 2011, most of his work — at least since the early 2010s — has been in the realm of direct-to-consumer (DVD, VOD and streaming) grindhouse actioners.
Varying quality notwithstanding, the likes of “Get the Gringo,” “Blood Father,” “Dragged Across Concrete” or “Last Looks” are not exactly on par with headlining big-budget A-level Hollywood blockbusters, even if many of them were inward-facing meta-critical character studies rooted in Gibson’s offscreen persona.
Nor is being cast as a villain mostly for a punchline in the likes of “Daddy’s Home 2” (which did use the actor’s reputation to build a kind of Chabrol-worthy slow-build menace) “Expendables 3,” “Machete Kills” or “Boss Level.” The one recent exception was Liongate’s “Hacksaw Ridge” in 2016, in which he directed Andrew Garfield, as a pacificist trying to serve in World War II as a battlefield medic, to critical acclaim, strong box office ($181 million on a $40 million budget) and several Oscar nominations.
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