RocknRolla

In a business as enormously subjective as the film industry, it would seem near impossible to attempt to remain individual and innovative, continually raising the bar, without the occasional stumble. Writer/director Guy Ritchie, who at first garnered countless approval for his vicious, hyper-stylized tales of dirty deeds in the British underground, had found the critical tides turning in recent years after the succession of universally panned Swept Away to widely baffling Revolver, begging the question as to whether Ritchie's cinematic genius had been limited to his initial films. However, fans of the unconventional filmmaker will be enthralled to hear that his latest project, RocknRolla proves a confident return to form, a snappy, stylish piece of work bristling with energy and acerbic wit - in short, classic Ritchie.

Returning to his defining genre, Ritchie crafts yet another convoluted myriad of intersecting story lines focusing on greed, deception, double-crossing and plenty of stupidity in the seedy underbelly of England. With viewers trusted to be familiar with his unique style, Ritchie uses his familiar story template to worm in social commentary amidst his trademark edge and humour, satirising the increasingly developed state of London and the enormous demand for real estate and location. But this is not the ordinary, romanticized London, as Ritchie's cinematic eye appears determined to capture every last dank, filthy gutter, every ounce of crime and corruption in a fashion akin to the least flattering cinematic depictions of New York. And yet, amidst the filth and edgy comedy, the occasional moment of raw humanity, flawed as it may be emerges from the fray of unanimously unsympathetic characters, whether it be the vulnerability of rocker Johnny Quid shuddering and rocking back and forth on a drug trip or the witty interplay between 'The Wild Bunch', a trio of hapless thieves. For a film so cynically detached, RocknRolla sure can hit the emotional gut-punch buttons for brief but unsettlingly crucial moments.

However, in the midst of his caustic reflection on his home town, Ritchie has mercifully left his sense of uproarious fun intact. After a relatively slow start, serving mostly to set up the convoluted array of characters and plot points (the central Maguffin this time being a 'lucky' Russian painting which goes missing) the film takes off at the frenzied pace those familiar with Ritchie's work would expect. Plunging into a fray of hilarious coincidences and situational comedy (watch for a priceless slow dance scene and one of the most hysterical sex scenes in many a year), double crosses, intimidation rants, philosophical monologues and the time worn Ritchie tradition of indestructible Russian hit men, it becomes clear that no matter how many similarities it may bear to past work, the delight of seeing a dynamic talent back on the top of his game cannot be understated. While the hyper-kinetic editing and camera-work and bold music cues of Snatch have been toned down and the casual violence is more removed, the cinematic flavour is unmistakable - Ritchie is back, and just as bombastically entertaining as ever.

As usual, Ritchie's cast rise to the occasion of matching the brilliance of their script and director. Gerard Butler brings an endearing charm to tough talking goofball thug One-Two, inevitably raising laughs whenever on screen and anchoring the film as one of the few likable characters. Tom Wilkinson takes on the role of resident British mobster with considerable aplomb, spitting out his lines with a vindictive joy and proving easily more than adequate on the intimidation front. Thandie Newton evokes an alluring mysterious air as a devious accountant playing each side of the conflict against each other, exuding a subtle quirkiness in her execution of the traditional femme fatale figure. Mark Strong delivers harried menace and perfect comic deadpan as Wilkinson's right hand man, crafting another memorable Ritchie reference with the "Archie slap", and Idris Elba and Tom Hardy are fittingly hilarious as One-Two's bumbling fellow hard men Mumbles and Handsome Bob. Finally, Toby Kebbell eerily essays the most commanding character on screen as allegedly deceased rocker Johnny Quid. A narcissistic, painfully vulnerable, haphazardly philosophical and cheekily insulting pile of flaws and potent observations, Quid is as classic as any of Ritchie's more beloved characters, and Kebbell's off-kilter performance rivets the viewer's attention - whether hilarious or tragic, he is always invariably impossible to ignore and far too interesting to discount.

While the occasional cry of rehashing story elements from past successes may be raised, Ritchie's return to form is too supremely entertaining to dwindle under such complaints, as the formula proves to have just enough shelf life along with countless inspired tweaks to remain miles ahead of any stylistic impersonators. For any finding the cinema's fare too dull or uninspired, fear not - a genuine talent has re-emerged, and RocknRolla proves just the antidote to the hackneyed mainstream offshoots which slunk up in his absence. The prospect of the announced two sequels is mouth watering indeed - if anything should prove indicative of the film's quality, it is that.

-8.5/10

I enjoy Guy Ritchie films and this was good but not to the level of some of his other films but Guy does seem to be able to pick a good cast

Like other reviewers, I find Guy Ritchie very watchable. His cockney criminals are a delight to watch, all of them killing a human as easily as they might a fly and delivering punchlines all the way. Rirchie's screenplay brims with action and razor sharp dialogue for the first hour, then - very sadly - it loses direction.

The blueprint for ROCKNROLLA was SNATCH (UK, 2000), probably Ritchie's best, most rounded effort, with characters that pop out of the screen.

ROCKNROLLA does not quite match that highly original early Ritchie flick, it is unfortunately too long by easily 20 minutes, and its characters by and large do not stand out as much.

That said, Butler and Hardy make unlikely lovers who double up as criminals, Butler and Thandie have the briefest, least passionate love scene I have watched in some time, a real damp squib, and Tom Wilkinson as the fiendish Lenny Cole, Idris Elba as the ever supportive sidekick to Butler, and Mark Strong as the irrepressible Archy really steal the show.

Great cinematography, action sequences by David Higgs.

At the turn of the century, Guy Ritchie established his reputation with the one-two punch of "Lock, Stock and Two Smoking Barrels" and "Snatch". While bearing the unmistakable influence of Quentin Tarantino, these two crime comedies nevertheless stood out among the scores of imitators.

Branching out, Ritchie next tried something different. Unfortunately, his remake of Lina Wertmüller's "Swept Away" (starring his then-wife Madonna) turned out to be a disaster, both artistically & financially. His follow-up, "Revolver", played more to Ritchie's strengths but it was ultimately sunk by some heady philosophical underpinnings.

Finally, in 2008, Ritchie returned to his bread & butter with "RockNRolla". This tale of high- and low-class gangsters might not have quite the same spark as his earlier efforts but it definitely represented a welcome return to form.

All of the usual ingredients are here: a cleverly constructed plot, visual panache, well-chosen tunes and, perhaps most importantly, a stellar ensemble cast. It's an embarrassment of riches with the likes of Gerard Butler, Thandie Newton, Mark Strong, Idris Elba, Tom Hardy, Tom Wilkinson and so on. Of course, it helps that they're delivering Ritchie's often quotable dialogue.

Overall, the screenplay is characteristically convoluted with plenty of unexpected twists and turns. I won't even bother to try to synopsize the plot other than to say that it involves a lucrative real estate deal that goes awry with potentially deadly consequences. Luckily, the script moves at a brisk pace so its complexities never wear on the viewer.

As I alluded to earlier, the movie is a visual and aural treat. The visuals are consistently vibrant and I have to appreciate some of the soundtrack's deep cuts like "Have Love, Will Travel" by the Sonics and "Funnel of Love" by Wanda Jackson.

Ultimately, "RockNRolla" may not qualify as top tier Guy Ritchie but it's definitely worth watching. Interestingly, Ritchie teased a sequel at the end of the movie but it has yet to materialize. Count me in as someone who'd like to see that happen someday.

Guy Ritchie's latest venture into the gangster genre feels a bit like déjà vu, doesn't it? I mean, the man's got a knack for weaving tales of theft and deception, but it's starting to feel a tad repetitive after he knocked it out of the park with two stellar flicks in the same vein.

Remember "Lock, Stock and Two Smoking Barrels"? That was a riot, mainly because of the quirky characters Ritchie cooked up. Then came "Snatch," which had its own brand of hilarity. But now, with "RocknRolla," it's like he's taken a dash of both those films and whipped up another batch. The characters are intriguing, sure, but the plot feels like it's been recycled, and things can get a bit messy along the way. Plus, the vibe's a tad darker this time, and the laughs aren't as frequent.

But hey, let's give credit where it's due. Technically speaking, the movie's still top-notch. And can we talk about the cast? Idris Elba, Tom Hardy, Mark Strong, Tom Wilkinson, Gerard Butler-talk about a lineup! Butler, especially, shines in those dance scenes with Thandie Newton and Tom Hardy.

So, yeah, "RocknRolla" is a decent flick, no denying that. It's just that the whole gangster shtick feels a bit worn out by now, you know?