A cab driver finds himself the hostage of an engaging contract killer as he makes his rounds from hit to hit during one night in Los Angeles. He must find a way to save both himself and one last victim.
Martine offers Terry a lead on a foolproof bank hit on London's Baker Street. She targets a roomful of safe deposit boxes worth millions in cash and jewelry. But Terry and his crew don't realize the boxes also contain a treasure trove of dirty secrets - secrets that will thrust them into a deadly web of corruption and illicit scandal.
Stephen Campbell Moore
A middle-aged crime boss smugly reflects back from 1999, narrating the brutality which made him triumphant - and feared. As an unnamed young hood in Swinging 60's London, he aped his mod boss Freddie Mays, and seemed to do anything for him. But his narration exposes all-consuming envy: of Freddie's supremacy, and especially his tall bird. The baby shark develops his viciousness and backstabbing, scheming to be Gangster No. 1. Written by
The scene where a man is hanging from the balcony of a large block of flats was filmed on the Heygate estate in London. Work on this estate did not begin until around 1970 and the estate was not complete until 1974. Even then, it would have taken another year or two to populate the estate. There is a similar estate just down the road called the Aylesbury, but that wasn't completed until much later. See more »
[song "The Good Life" begins as scene opens at boxing match; crowd noises]
What? With Scotland Yard breathing down me neck? Fuck off. Do me a favor!
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Bert's Apple Crumble
Written by David Hadfield
Used by kind permission of Universal/Dick James Music Ltd
Performed by The Quik
Courtesy of the Decca Record Company Ltd
Licenced by kind permission from the Film & TV Licensing Division
Part of the Universal Music Group See more »
The story might be rather ordinary and it may become less interesting after the first hour or so, but this is generally intriguing stuff. The film is effectively narrated and performed by Malcolm McDowell, but Paul Bettany is the one who really shines here, replicating McDowell's charisma as an uncaring and violent youth, whilst also injecting some of his own spirit into his character. The film is rather clever in fact with how it uses McDowell and what he has come to stand for, with a number of interesting echoes of A Clockwork Orange throughout the film. The biggest problem that I found in the whole production was that the flashbacks to the 1960s looked just like the present with no feel for the era. But really, other than that and a story that is not out of the ordinary, this is a well made film with an interesting visual and audio style, and quality acting to top it all off.
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