Boris Arkadin is a horror film maker. His pregnant wife was brutally murdered by a Manson-like gang of hippy psychopaths during the 1960s. He becomes a virtual recluse - until years later ... See full summary »
The car that Rhys Ifans (Mr Nice) uses during the scene where the police pull his vehicle apart clearly uses a number plate font that was not introduced in Britain until 2001. Prior to this letters had more width and the same hight as the current standard. See more »
A dealer is really just someone who buys more dope than he can smoke. And I have to say, I'm ashamed, I tried to smoke it all. There was just too fuckin' much of it.
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The credits appear over a super slow motion shot of Howard Marks (Rhys Ifans) lighting and taking a toke from a joint. See more »
Mr Nice is a rare beast of a film, it swaggers, it spits, it dreams, it punches, it laughs, it cries and of course and likely above all it gets stoned.
Howard Marks is the central character played effortlessly by Rhys Ifans, a welsh school boy turned big city student and pothead. We see Marks transformation through a series of off beat scenes in which director Bernard Rose reflects on Marks' humble, banal yet honest origins. Then our protagonist through a combination youthful substance experimentation and a fateful convergence of circumstances is established as an international Drug smuggler,
We are gradually introduced to a plethora of interesting characters that vary from casual love interests to drug dealing allies, who materialise as Ifans travels deeper into Marks' world of dope, dealing and debauchery. Amongst the group are fine supporting efforts notably from David Thewlis who delivers the hilariously cranky IRA terrorist turned middle man Jim. Chloë Sevigny convinces as the overly supportive wife and mother Judy and Omid Djalili sparkles intermittently as the Pakistani pusher Saleem Malik.
The film takes us through the tumultuous times of sex, drugs, betrayal, greed, prison and pot which Marks and his merry men navigate their way through against a lush backdrop of 70's pastiche. By the time we get to the stories conclusion we have great connections with the characters motives as a result of the superb cast and due to an impressive directorial mesh of humour and grit from Rose what's left is the best British film of the year to date.
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