Hit Job
A week before the 9.5 U.K. release, In Contention‘s Guy Lodge has bitch-slapped Guy Ritchie‘s RocknRolla (Warner Bros., 10.8), calling it a “mess” that “falls apart” early on. This primes the pump, of course, for those attending next week’s Toronto Film Festival, where Ritchie’s film will be shown a few times.
“[During] the first few minutes of RocknRolla, hopes are high that Ritchie has rediscovered the fleet-footed timing and lightness of touch that made his trend-setting 1998 debut Lock, Stock and Two Smoking Barrels such a delight, and its lesser follow-up, Snatch, such a guilty pleasure.
“The animated credit sequence, as you may have heard, is a thing of considerable beauty. More importantly, the opening scene, which employs swift, sexy cuts between multiple actors and locations to maintain a multi-voiced monologue on the fortunes of present-day London (Ritchie presumably wrote this before the recession), is something to behold.
“But then the pace settles, the actual narrative reveals itself — and the whole enterprise, shorn of these initial stylistic tics, steadily falls apart. Ritchie has dialed down his style of story construction since the incomprehensibly convoluted Revolver but he may have overcompensated — the size of the ensemble notwithstanding, there is really very little storytelling motor here.
“The flimsiness of the entire construction would matter less if there were more wit and crackle in Ritchie’s script, or if the actors, at least, appeared to be having fun with it. Sadly, in the wake of his failures, Ritchie appears to have wholly lost his confidence and spontaneity as a writer; even the cleverer one-liners feel overworked and over-worded, tripping up the actors at every turn.
“More alarming still, Ritchie’s writing betrays precious little acquaintance with his characters or his story world. His weirdly dated heavies appear more informed by Get Carter than any facet of contemporary urban Britain.
“Twee soundbites like ‘You’ve got more feet on the street than coppers on the beat’ imply an artist hopelessly out of touch with his subject, particularly in a year that has given us the thrilling gangster patois and linguistic invention of Martin McDonagh‘s In Bruges.”
Weirdly dated heavies? No acquaintance with his story world? When are people going to cut Ritchie the same slack they give to Tarantino? I’m not saying he’s on the same level, and I haven’t liked one of his films since SNATCH, but that’s fairly silly criticism. I have hops for this based on that trailer and the cast.
Huge thanks for the linkage, Jeff.
To be honest, BurmaShave, I wouldn’t cut Tarantino much slack for his last few pictures either.
By the way, anybody who goes to Telluride and misses the screening of the restored The Big Parade (King Vidor, 1925) with live accompaniment by Gabe Thibadeau, in order to see some lame indie or Oscar wannabe that will be playing at the mall in three months anyway, is a god-damned fool.
Surely, someone will liveblog the Vidor for us, Mgmax.
I’m a little stunned by the harshness of Lodge’s review. Though far from a masterwork, ROCKNROLLA is the first Guy Ritchie movie I’ve completely enjoyed on its own terms (SWEPT AWAY is fascinating as a cuckold’s cry for help). It’s the first time he hasn’t tried to bash us over the head with his filmmaking virtuosity, and I rather appreciated that.
I saw this at the Empire Movie-Con at the BFI Southbank a couple of weeks back, and I had so much fun. It’s definately Snatch with and added Cash Injection, and the story as it were isn’t up to Lock, Stock… but it’s consistently funny, well shot, brilliantly edited and there’s an action sequence half way through with russian hitmen, that was startling in it’s originality! Toby Kebbell proves again why he’s gonna be huge (shame about Prince of Persia snapping him up), Gerard Butler again plays a definitive man’s man, but don’t knock someone for doing what they do well… in fact, that’s the best I can say for everyone involved (with the exception of a slightly miscast Tom Wilkinson… and that’s a sentence that’s a first!), highlighting Kebbell and Mark Strong. And it sets the trilogy up (although one questions it’s need) with an oomph… And after the Q+A with Ritchie, I can’t blame him for going back to the safe zone after two ‘flops’ (which although not great, both made a profit) to give himself access to bigger projects and more creative freedom which he himself turned down after Snatch to pursue his own ideas, however they turned out. More than most would do in a similar situation. Oh and if anyone was wondering… One person out of 600 admitted to liking Revolver. Guy Ritchie tried to explain it. Mark Strong sat there looking more confused than everyone else… and he was in it!
By the way, anybody who goes to Telluride and misses the screening of the restored The Big Parade (King Vidor, 1925) with live accompaniment by Gabe Thibadeau, in order to see some lame indie or Oscar wannabe that will be playing at the mall in three months anyway, is a god-damned fool.
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