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Directed by | |||
| Guy Ritchie | |||
Writing credits(in alphabetical order) | ||
| Guy Ritchie | writer | |
Produced by | |||
| Stephen Marks | .... | executive producer | |
| Georgia Masters | .... | co-producer | |
| Peter Morton | .... | executive producer | |
| Angad Paul | .... | executive producer | |
| Sebastian Pearson | .... | associate producer | |
| Jan Roldanus | .... | associate producer | |
| Trudie Styler | .... | executive producer | |
| Steve Tisch | .... | executive producer | |
| Ronaldo Vasconcellos | .... | line producer | |
| Matthew Vaughn | .... | producer | |
| Jon Slan | .... | executive producer (uncredited) | |
Original Music by | |||
| David A. Hughes | |||
| John Murphy | |||
Cinematography by | |||
| Tim Maurice-Jones | |||
Film Editing by | |||
| Niven Howie | |||
Casting by | |||
| Celestia Fox | |||
| Guy Ritchie | |||
Production Design by | |||
| Iain Andrews | |||
| Eve Mavrakis | |||
Set Decoration by | |||
| Jacalyn Hyman | |||
Costume Design by | |||
| Stephanie Collie | |||
Makeup Department | |||
| Rebekah McVitie | .... | makeup artist | |
| Linda A. Morton | .... | hair stylist supervisor | |
| Linda A. Morton | .... | makeup supervisor | |
| Ros Peat | .... | makeup artist | |
| Catherine Scoble | .... | makeup designer | |
Production Management | |||
| Adam Bohling | .... | production manager | |
Second Unit Director or Assistant Director | |||
| Ben Burt | .... | third assistant director | |
| David Reid | .... | first assistant director | |
| Daniel Toland | .... | second assistant director | |
| Sean Guest | .... | additional first assistant director (uncredited) | |
Art Department | |||
| Alex Chandon | .... | props | |
| Phil Donoghue | .... | special props and effects | |
| Rupert Gartrell | .... | stand-by carpenter | |
| Nick Gottschalk | .... | art department assistant | |
| Shay Leonard | .... | props | |
| Simon Morrissey | .... | property master | |
| Hannah Moseley | .... | assistant art director | |
| Susie Plant | .... | props runner | |
| Fanny Taylor | .... | prop buyer | |
Sound Department | |||
| Tony Anscombe | .... | adr recordist | |
| Matthew Collinge | .... | sound designer | |
| Steve Cook | .... | sound supervisor | |
| Henry Dobson | .... | sound re-recording mixer | |
| Arthur Fenn | .... | boom operator (as Arthur Turner) | |
| Simon Hayes | .... | sound recordist (as Simon 'Purple' Hayes) | |
| Scott Jones | .... | foley recordist | |
| Marc Lawes | .... | foley editor | |
| Claire Mahoney | .... | foley artist (as Clare Mahoney) | |
| Graham McCarthy | .... | assistant sound re-recording mixer | |
| Danny Sheehan | .... | supervising sound editor | |
| Jez Spencer | .... | foley editor | |
| Jason Swanscott | .... | foley artist | |
Special Effects by | |||
| Casper Lailey | .... | special effects technician | |
| Ken Lailey | .... | special effects supervisor | |
| Alastair Vardy | .... | special effects technician | |
Visual Effects by | |||
| Martin Body | .... | rostrum cameraman | |
| Rob Gordon | .... | digital online editor | |
| Courtney Vanderslice | .... | head of production: Cinesite | |
| Paul Lambert | .... | digital artist (uncredited) | |
Stunts | |||
| Richard Graydon | .... | stunts | |
| Sy Hollands | .... | stunt driver (as Sy Holland) | |
| Glenn Marks | .... | stunt coordinator | |
Camera and Electrical Department | |||
| Ray Bateman | .... | generator operator | |
| Dean Kennedy | .... | best boy | |
| Jake Marcuson | .... | clapper loader | |
| Richard Oxley | .... | electrician | |
| Sebastian Pearson | .... | still photographer | |
| Peter Wignall | .... | camera operator | |
| Terry Williams | .... | camera grip | |
Casting Department | |||
| Emma Buckley | .... | casting assistant | |
| Louis Elman | .... | adr voice casting | |
Costume and Wardrobe Department | |||
| Sue Coates | .... | dresser | |
| Lisa Shanley | .... | assistant costume designer | |
Editorial Department | |||
| Heather Clarke | .... | post-production coordinator | |
| Martin McGlone | .... | color grader | |
| Matt Reed | .... | assistant editor | |
Music Department | |||
| Nicola Fletcher | .... | music supervisor | |
| Daniel L. Griffiths | .... | additional score production | |
| Laurence Kaye | .... | music supervisor | |
| Ian Neil | .... | music supervisor | |
| Greg Francis | .... | orchestrator (uncredited) | |
| Mark Hinton Stewart | .... | assistant music supervisor (uncredited) | |
Other crew | |||
| Charles Bodycomb | .... | armorer | |
| Dan Cadan | .... | production runner | |
| Ayo Davis | .... | production assistant | |
| Lyn Gaskin | .... | set runner | |
| Kathy Hughes | .... | script supervisor | |
| Jessica Kirsh | .... | unit publicist | |
| Johanna Pilgrim | .... | assistant to producer | |
| Jules Powell | .... | runner | |
| Andrew Rosen | .... | production assistant: Paragon/Handmade | |
| Christina Shadick | .... | location accountant | |
| Tina Shadick | .... | assistant production accountant | |
| Eddie Standish | .... | location manager | |
| Karen Walter | .... | production accountant | |
| Julian Weaver | .... | on-set rigger | |
| Laura Zatloukal | .... | production assistant | |
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I'm not sure whether to call this a black comedy or a comedy-noir. The story is about four working class lads who have each managed to save up 25,000 pounds to spot their card-shark friend for a high-stakes poker game with "Hatchet" Harry, the local gangster.
Unfortunately, Harry's game is rigged and the four end up owing Harry half a million pounds, with just one week to come up with the cash. What ensues is a set of schemes, counter-schemes, rip-offs, and bad/good luck that demand you pay attention. On several occasions I had to pause the video just to take stock of which gang was planning what.
The final thirty minutes of the film, as the plots all collide and overlap, turn set-piece shoot outs into comedic punchlines. The comedy is driven by exploding our expectations of what are otherwise pretty standard scenes from the film-noir genre.
The acting is strong and the script very tight. Although I am not normally a fan of voice overs, this one informs without spoiling the action. And I liked the use of the slow-motion to disrupt the action and keep me paying attention.
While this film may not be for everyone, if you enjoy a darker pallette, this may be right up your alley.