In London, a real-estate scam puts millions of pounds up for grabs, attracting some of the city's scrappiest tough guys and its more established underworld types, all of whom are looking to get rich quick. While the city's seasoned criminals vie for the cash, an unexpected player -- a drugged-out rock 'n' roller presumed to be dead but very much alive -- has a multi-million-dollar prize fall into... See full summary »
A botched card game in London triggers four friends, thugs, weed-growers, hard gangsters, loan sharks and debt collectors to collide with each other in a series of unexpected events, all for the sake of weed, cash and two antique shotguns.
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
After seven years in solitary, Jake Green is released from prison. In the next two years, he amasses a lot of money by gambling. He's ready to seek his revenge on Dorothy (Mr. D) Macha, a violence-prone casino owner who sent Jake to prison. He humiliates Macha in front of Macha's lieutenants, leaves, and keels over. Doctors tell him he has a rare disease and will die in three days; Macha also puts a hit out on him. Loan sharks, Zack and Avi, demand Jake's cash and complete fealty in return for protection. Jake complies, and through narration and flashbacks, we watch him through at least three days of schemes, danger, and redemption. Who is his greatest enemy? Written by
Two versions of this film have been released: the original version (which makes more sense and actually flows as a story), and the second version released to Australia and other countries containing deleted scenes as well as an altered order of scenes, and doesn't flow as smoothly as a narrative. See more »
At first when he gets to his house, before he gets to the door, you can see the crew in the reflection in the car's paint. See more »
One thing I've learned in the last seven years: in every game and con there's always an opponent, and there's always a victim. The trick is to know when you're the latter, so you can become the former.
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There are six title cards carrying quotes (some real, some made up) which appear, the first four before the film starts; the ideas in the quotes are referred to in the dialogue. 1. "The greatest enemy will hide in the last place you would ever look." - Julius Caesar, 75 B.C. 2. "The only way to get smarter is by playing a smarter opponent." - Fundamentals of Chess, 1883 3. "First rule of business, protect your investment." - Etiquette of the Banker, 1775 4. "There is no avoiding war, it can only be postponed to the advantage of your enemy." - Niccolo Machiavelli, 1502 At 1:13 : 5. "The only real enemy to have ever existed, is an internal one." - The Road to Suicide, pg1, line 1 At 1:36 : 6. "Your friends are close, but your enemy is closer." - The Road to Suicide, pg1, line 2 See more »
I will start by saying that this has undeservedly be panned by just about everyone! The fact is it wasn't what anyone was expecting, especially from Guy Ritchie. What everyone was expecting was cockney geezers and good one liners "do ya like dags?" etc, but this is far more mature than his previous works. I would agree that it is confusing but all the facts are there for us we just have to see them and listen harder, this film demands all your attention! Look past the cool and dazzling look of the film, try to listen to the dialogue rather than admire the performances and i think we will all get a more thorough understanding of the whole film.
Yes this has its influences from modern classics( fight club, pulp fiction etc ) but it is in the whole original in both direction and pacing with a music score second to none. I feel that if everyone watched this film over and over they would understand it a lot more and maybe appreciate it for the fine piece of modern cinema that it is and i hope also that Ritchie continues in this vain as i far prefer this to his mockney "masterpieces".
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