Warren Goz

Warren Goz, now there’s a dude who knows his way around gritty thrillers and high-stakes drama. His name pops up in the credits of movies that don’t exactly play nice—think *The Marksman* (2021), *Copshop* (2021), and *Black Flies* (2023). He’s all about that relentless tension, characters with more baggage than a lost luggage claim, and stories that hit you in the gut, not just the head. With *The Marksman*, you’re tossed into a sun-baked borderland showdown, where morality’s about as clear as muddy water, and every choice feels like a coin flip between life and death. Liam Neeson’s gruff, haunted antihero is classic Goz territory—ordinary people forced into extraordinary messes. Then there’s *Copshop*, which is one of those wild, pulpy rides where you’re never sure who’s double-crossing who. Goz helps crank up the claustrophobia, setting the action inside a police station that’s basically a pressure cooker. Bullets fly, alliances flip, and the line between good and bad? Pretty much erased. *Black Flies* hits even harder. It’s grim, yeah, but there’s a raw honesty about it—the chaos of street-level paramedics, all blood and adrenaline and moral exhaustion. Goz doesn’t flinch away from the ugly parts of humanity, but there’s a weird hope in there too, like he actually believes people can claw their way out of the darkness. He’s not about glitz or sugarcoating. Just messy, lived-in stories that stick with you long after the credits roll.