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...
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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.
A case of mistaken identity lands Slevin into the middle of a war being plotted by two of the city's most rival crime bosses: The Rabbi and The Boss. Slevin is under constant surveillance by relentless Detective Brikowski as well as the infamous assassin Goodkat and finds himself having to hatch his own ingenious plot to get them before they get him.
A young man who was sentenced to seven years in prison for robbing a post office ends up spending three decades in solitary confinement. During this time, his own personality is supplanted by his alter-ego, Charles Bronson.
Lenny Cole, a London mob boss, puts the bite on all local real estate transactions. For substantial fees, he's helping Uri Omovich, a Russian developer. As a sign of good faith, Omovich loans Cole a valuable painting, promptly stolen off Cole's wall. While Cole's men, led by the dependable Archie, look for the canvas, three local petty criminals, the Wild Bunch, steal money from the Russian using inside information from his accountant, the lovely Stella. Meanwhile, a local drug-addled rocker, Johnny Quid, is reported drowned, and his connection to Cole is the key to unraveling the deceits and double crosses of life in the underworld. Written by
The character Uri appears to be inspired by real-life Russian businessman Roman Abramovich. He physically resembles Abramovich and conducts a business meeting at a soccer stadium which echoes Abramovich's status as owner of Chelsea FC. See more »
When we first meet Johnny, he flashes back to his childhood, singing in his bedroom. We are indicated it is fifteen years earlier by an on screen note. As the scene progresses and we see more of the boy's room, a Playstation video game console can clearly be seen under the boy's television. If the movie took place in the year 2008, this scene would be taking place in 1993, but this console was not released until the end of 1995. See more »
People ask the question... what's a RocknRolla? And I tell 'em - it's not about drums, drugs, and hospital drips, oh no. There's more there than that, my friend. We all like a bit of the good life - some the money, some the drugs, others the sex game, the glamour, or the fame. But a RocknRolla, oh, he's different. Why? Because a real RocknRolla wants the fucking lot.
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There is a scene in the closing credits: the complete scene of One Two dancing with Handsome Bob at the gay bar. See more »
Written by Ashruf Kemal Radwan (as Radwan)
Published by 2003 Cherry Red Recordings
Administered by Kassner Associated Publisher LTD
Performed by Eater
2003 Amagram Records
Licensed courtesy of Cherry Red Recordings LTD See more »
I have to admit that I have a soft spot for Guy Ritchie's mockney gangster films. I don't know what it is. I know that they're not very profound and have nothing to say, I know that they're a pure fantasy vision of British crime and I know that if you've seen Lock Stock, you've pretty much seen them all. And yet, as Ritchie returns for a third iteration of the only formula with which he's tasted success , I still find myself walking out of the cinema massively entertained.
RocknRolla does absolutely nothing new. A quick list of things it shares with Lock Stock and Snatch would read thus: fast paced, witty dialogue; complex, interwoven plot threads; central McGuffin driving the mayhem (#1 antique shotguns, #2 huge diamond, #3 a lucky painting); smart, rapid editing; a mountain of Cockney crime stereotypes. Even things such as hard-as-nails Russian henchmen return. It completes the upward curve of scale in Ritchie's crime films: from a rigged card game to a rigged boxing circuit to rigged property development. The crime lords get larger in stature, the sums of money owed have more zeros on the end and the capers required to resolve the situation more grand, but it's still the same concept.
You'd think this was a list of criticisms, and if you found Snatch wearingly familiar you shouldn't need it spelling out that this film won't impress you. Looking for originality? Look elsewhere. RocknRolla may be pushing the formula a little bit, but if you accept that it's still enormous fun. Ritchie's directing is as proficient as ever, it moves at a merry old pace and the plot just about stays on the rails. The characters are endearing and there's plenty of laughs to be had. Other than its dearth of invention, the only real flaw with the film lies in the opening fifteen minutes, where Ritchie sets up the plot strands which will then unravel. Whereas previous films did this in a smooth, unforced way, here Ritchie lathers it with a liberal helping of voice-over narration so there's absolutely no confusion possible as to who is who and what they're after, which on many occasions extends to pointing out the bleeding obvious. Show don't tell- it's the first rule in the book Ritchie! It may be getting to the point where RocknRolla must go down as a guilty pleasure, but guilty pleasures are often the most fulfilling kind. And so it is here.
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