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.
Bob Saginowski finds himself at the center of a robbery gone awry and entwined in an investigation that digs deep into the neighborhood's past where friends, families, and foes all work together to make a living - no matter the cost.
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
When Uri visits his accountant's house, he arrives in a silver S Class Mercedes Benz. Moments later, when his bodyguard is shown waiting outside, he is sitting in a black Audi A8. 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 Jimmy Duncan (as Duncan), William Arthur Farley (as Farley)
Published by Francis Day and Hunter/EMI Music Publishing LTD
Performed by The Pretty Things
an original Fontana Recording E 1964 Shapper Music PLC
Licensed Courtesy of Snapper Music PLC, by arrangement with the licensing partnership UK LTD See more »
Ritchie Snatches from himself Lock, Stock and Barrel.
A few lovable rogues find themselves mixed into a scheme that sees them dangerously crossing the path of the local Mr Big and there's also a valuable artifact that different, dangerous folk are after so things get complicated for everyone involved. Sound familiar? Writer-director Guy Ritchie's RocknRolla was hailed by many as a return to form upon it's release and, in a way, it is. Sadly, that's because it's pretty much an inferior copy of scenes he himself has done better and more stylishly in his first two movies. Which is a shame.
The saddest thing about this movie is the waste of such a great cast. Gerard Butler has been so good in so much lately that I really can't think of any faults with his work, ever. The other main asset here is Mark Strong, playing a hard man who puts up with a lot more than you may think he would but who also always does what needs to be done when he's convinced that it's the best course of action. Tom Wilkinson feels a little out of place playing a Mr Big here but, considering the way the story plays out, that might be an intentional thing. Thandie Newton is sexy and dangerous. Idris Elba is another consistently good performer, in my opinion. Toby Kebbell is fantastic. And I can watch Jeremy Piven in anything. Every other role is taken by someone just fine in the part so there are no problems there.
And Ritchie still has style to spare. We get the flourishes here and there, we get the juxtaposed scenes as stories are told and names talked about with respect, we also get the usual great mix of tunes to go with the visuals (although nowhere near as good as the tunes he has used in the past).
I'm actually not sure if Ritchie the writer provided material he had already overused or if Ritchie the director took the material and constructed the movie with far too many scenes he had already overused but this is one well that the man should perhaps stay away from for a while. It is watchable and certainly fun in places (the "money snatch" tale that Butler relates to Newton is full of some great, dark humour) but I personally even preferred the originality of Revolver, as despised as that movie was by many others.
See this if you like: Snatch, Layer Cake, Lock, Stock & Two Smoking Barrels.
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