“If you wish to be The King of the jungle, it’s not enough to act like a king. You must be The King. And there can be no doubt. Because doubt causes chaos and one’s own demise.”
Every few years, Guy Ritchie attempts to rekindle the magic of Lock, Stock and Snatch with an East End gangster movie, in essence to prove that he can still make “a Guy Ritchie film”. My expectations were decidedly muted after repeated misfires like Revolver and RocknRolla, but The Gentlemen marks his most successful return to those roots to date. The usual ingredients are present: a talented ensemble cast, heavy sarcasm, drugs, violence and dark humour, this time channelled by a considerably better script. Hugh Grant’s unexpected casting as a scumbag investigator works well and, although his endless narration becomes tiresome, as a storytelling device it allows Ritchie to flex a little creative flair from scene to scene. Yet none of this feels particularly fresh 20 years later and old issues remain, with only a single notable woman as well as unnecessary and unchallenged casual racism (albeit from characters we are not supposed to like). Ritchie may once have shaken up gangster filmmaking but now he is only acting like a king, within an industry obsessed with repeating the past. Nevertheless, for fans of this particular style, The Gentlemen offers enjoyable if anachronistic entertainment.
“If you must blink, do it now. Pay careful attention to everything you see and hear, no matter how unusual it may seem.”
I have no excuse for my tardiness in catching the latest stop-motion animation from Laika, the studio who produced Coraline. The decision to focus solely on this overlooked art form allows them to develop new technology that drives the medium forward from one film to the next. The scale of some of the puppetry here is incredible, though size can be deceptive on-screen. Strong art direction coupled with stunning lighting separates the film visually from the average family animation, though it is likely to appeal more to older children. The meta-narrative about Eastern storytelling through origami figurines is a nice touch for the beauty of what they physically produced, even if it only remains in ephemeral film.
“The guy who invented the hamburger was smart. But the guy who invented the cheeseburger… genius.”
Matthew McConaughey immerses himself deeply in the character of modern-day gold prospector Kenny Wells. Based on the 1993 Bre-X mining scandal, in which the discovery of a massive Indonesian gold deposit turns out to be a fraud, there are overtones of The Wolf of Wall Street to this fictionalised account, albeit with a protagonist at once less charming but more sympathetic. Gold serves as a film as much about ambition as avarice, as we analyse Kenny’s motivations and trustworthiness.
“If I ever start referring to these as the best years of my life — remind me to kill myself.”
Following a group of high school students on the last day of school in the summer of 1976, I found this initially uncomfortable viewing because of the seemingly uncritical view of socially condoned violence. In fact this is more verisimilitude as Linklater accurately captures the aimless desires and insecurities of adolescence at a specific point in time.