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28270	yago	0	15	https://www.caseyliss.com/2017/7/27/bmw-the-hire	en	BMW's The Hire	https://www.caseyliss.co…ages/favicon.png	https://www.caseyliss.co…ages/favicon.png	[ "https://www.caseyliss.com/images/2017/7/star-m5.png", "https://www.caseyliss.com/images/2017/7/star-lets-go.gif" ]	[ "//www.youtube-nocookie.com/embed/GW11Lez4elc?rel=0" ]	[]	[ "" ]	null	[ "Casey Liss" ]	2017-07-27T00:00:00	BMW's "The Hire" is a thing I like.		https://www.caseyliss.co…ages/favicon.png	Liss is More	https://www.caseyliss.com/2017/7/27/bmw-the-hire	BMW's The Hire Thursday, 27 July 2017 Imagine you’re in your freshman year of college. You’re really into cars, and have been your entire life. Your wallet is poor, but your clock is rich. You enjoy BMWs—from afar—and have a favorite. That favorite is the E39 M5. One that you still dream of all these years later. Out of nowhere, BMW releases a long-form commercial short film. Moreover, it’s the first film in a series. A series called The Hire. That film, Ambush, was directed by John Frankenheimer, a famous movie director. If you look closely, you can see the advertising peeking through the film. To my eyes, the clear highlight is the BMW 7 series’ superior lights. In addition to, of course, it being an Ultimate Driving Machine. Despite these clear marketing ploys, I found the film to be just plain fun. New films—dubbed “BMW Films”—were released every couple weeks. I waited for them like I waited for a new album from a favorite artist. I couldn’t get enough of The Hire. What’s more, with each passing film, a new car was featured. It began with the aforementioned 740i, and continued in Chosen with the 540i—ever-so-close to my beloved M5. Next, The Follow with a mostly unremarkable 328i and then-still-impressive Z3. Then came Star. Directed by Guy Ritchie, and featuring his then-wife Madonna, Star was is everything I’ve wanted from about 7 minutes of film. Though it is a totally fun film, with a surprising amount of story for its short duration, there is one primary reason why I love it so much: Guy Ritchie chose well. He chose the E39 M5. My favorite BMW, ever. Things only got better from there. If you haven’t seen the film, you should stop here and just go watch it. Go ahead, I’ll wait. I didn’t embed it here for a reason: you should watch it full screen, 480i be damned, and watch it loud. Do you see what I’m talking about‽ You know things are going to get interesting when the first few chords of Song 2 begin. However, this shot removes all doubt: Imagine me, car-obsessed, in my early 20s, watching this for the first time. Now, imagine me watching it over and over and over again. Because that’s exactly what I did. BMW ended up doing a second season of The Hire, but this time, instead of featuring various cars, they only featured the then-new Z4. Of the second season, my favorite is far and away Ticker, written and directed by Joe Carnahan. Biases aside, it is probably the best of all the BMW Films. The audio direction in the opening, in particular, is so well done. However, nothing can beat Star. After the second season was completed, BMW actually offered a The Hire DVD anthology. For something like $10 shipping, BMW would send you a DVD with [almost] all of the BMW Films on it. Despite being a broke college student, I did exactly that. I still have the DVD to this day, and it is probably my most cherished DVD. Last year, in 2016, BMW actually resurrected the BMW Films brand for their new 5 series sedan. The star of the series, once-unknown but now-famous Clive Owen, even reprised his role as the anonymous driver. While definitely in the spirit of seasons one and two, I can’t help but feel like The Escape just doesn’t quite have that joie de vivre that seasons one and two did. The BMW Films did something that had previously only been accomplished by The Price is Right: they made a long-form commercial fun to watch. I chose The Hire as my first things I like post for a reason. In the last week, Apple unveiled a short film about Siri that they filmed with The Rock. In every measurable way, I should have hated it. Yet, perhaps in part because of The Hire, I couldn’t help but enjoy it. I doubt there’ll ever be a series of long-form commercials that are done with the respect and care that The Hire was. Nevertheless, I will forever hold those films as some of my favorite car-related videos ever.
28270	yago	2	6	https://www.forbes.com/sites/monicamercuri/2024/03/07/is-netflixs-the-gentlemen-connected-to-guy-ritchies-2019-film-heres-what-to-know/	en	Is Netflix’s ‘The Gentlemen’ Connected To Guy Ritchie’s 2019 Film? Here’s What To Know	https://imageio.forbes.c…=1600&fit=bounds	https://imageio.forbes.c…=1600&fit=bounds	[ "https://specials-images.forbesimg.com/imageserve/6502190a1908d8cba1aea6b1/400x0.jpg?cropX1=56&cropX2=3143&cropY1=507&cropY2=3596", "https://static-cdn.spot.im/assets/community-guidelines/community-guidelines-symbol.svg" ]	[]	[]	[ "Netflix", "Guy Ritchie", "Theo James", "The Gentlemen", "Eddie Halstead" ]	null	[ "Monica Mercuri" ]	2024-03-07T00:00:00	Guy Ritchie’s new TV series "The Gentlemen" is now on Netflix. Is the show connected to the director's 2019 film of the same name? Here's what to know as you tune in.	en	https://i.forbesimg.com/48X48-F.png	Forbes	https://www.forbes.com/sites/monicamercuri/2024/03/07/is-netflixs-the-gentlemen-connected-to-guy-ritchies-2019-film-heres-what-to-know/	Guy Ritchie’s new Netflix series The Gentlemen dropped on the streaming platform on March 7. If you’re tuning in, you might be curious to know how The Gentlemen is connected to the director’s previous film, released in 2019. Starring White Lotus star Theo James, Netflix’s The Gentlemen follows a British soldier named Eddie Halstead (James), who unexpectedly inherits his family’s estate after his father dies. What he doesn’t know is that the property is intertwined with Mickey Pearson’s cannabis empire, secretly tucked beneath the polished British aristocracy. “He realizes that the estate, this crumbling vestige of the British Empire, has been propped up by criminality,” James told Netflix’s Tudum. Set in Ritchie’s trademark visual style, Eddie must navigate the world of dangerous and powerful players with nefarious agendas while safeguarding his home and life. Variety’s film critic Aramide Tinubu called it “a brilliant show about legacy, family and the thrills of self-discovery.” James told the BBC at The Gentlemen’s premiere that the “fascinating conceit” attracted him. “The melding of the aristocracy and the underworld, and how those things collide in the bombastic way. Britain is so defined by class, and we love it and hate for various reasons, but defining it in the melee of this was really fascinating for me,” the Divergent actor said. Meanwhile, Kaya Scodelario (The Maze Runner) portrays Susie Glass, a drug dealing who manages the weed farm on the estate’s grounds. “I very rarely get to portray women that are already at the top of the game when you meet them,” the actress told the UK news site. “It’s always a young woman finding her way in life.” She continued, “But what I loved about Susie is she’s a boss, she’s good at her job, she can run things, she knows exactly what she’s doing.” Joely Richardson, Peter Serafinowicz, Daniel Ings, and Giancarlo Esposito also star in the new comedy. Read on to learn how The Gentlemen is related to Guy Ritchie’s 2019 film of the same name. Is Netflix’s The Gentlemen Related To The 2019 Film? Netflix’s The Gentlemen is set in the same universe as the 2019 film also directed by Guy Ritchie. James confirmed to Netflix that “the world of this TV show is inspired by the movie, but the actual narrative is very different.” The film version, which came out in 2019, stars Matthew McConaughey as Mickey Pearson, an American expat who becomes rich by building a profitable marijuana empire in London. When he wants to sell his business, it sets off a series of plots and schemes, including bribery and blackmail from gangsters and shady individuals who want a piece. Colin Farrell, Hugh Grant, Jeremy Strong, Michelle Dockery, and Charlie Hunnam also appear in the comedy-thriller film. The Gentlemen took home $115 million worldwide at the box office, according to Box Office Mojo. Two years later, Miramax announced that there would be a spin-off TV series with Ritchie returning as an executive producer and co-writer. MovieWeb reported in November 2022 that the film gained popularity on Netflix, which led the streamer to greenlit a spin-off show. None of the stars from the original movie returned for the Netflix series, and no prior knowledge of the film is required to watch it. Ritchie explained to Netflix his reasons for wanting to build upon The Gentlemen universe. “I felt within The Gentlemen I could have at least have continued with another film,” he said. “I’ve got an inexhaustible creative reservoir of different ideas I’ve come up with in the past… The ability to be able to extend storylines has been tremendously liberating.” How To Watch The Gentlemen TV Series All eight episodes of The Gentlemen premiered on Netflix on March 7, 2024. The series is an original Netflix title, so you’ll need a subscription to watch it. Netflix offers three plans: Standard with ads ($6.99/month), Standard ($15.49/month) and Premium ($22.99/month). Netflix currently doesn’t offer a free trial, but you can downgrade, upgrade, or cancel anytime. Watch the trailer for The Gentlemen below.
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https://lede-admin.defector.com/wp-content/uploads/sites/28/2023/12/defector-orange-no-empty-space.png?w=1280 1280w, https://lede-admin.defector.com/wp-content/uploads/sites/28/2023/12/defector-orange-no-empty-space.png?w=1440 1440w, https://lede-admin.defector.com/wp-content/uploads/sites/28/2023/12/defector-orange-no-empty-space.png?w=1536 1536w, https://lede-admin.defector.com/wp-content/uploads/sites/28/2023/12/defector-orange-no-empty-space.png?w=2048 2048w, https://lede-admin.defector.com/wp-content/uploads/sites/28/2023/12/defector-orange-no-empty-space.png?w=2560 2560w, https://lede-admin.defector.com/wp-content/uploads/sites/28/2023/12/defector-orange-no-empty-space.png?w=2880 2880w" ]	[]	[]	[ "" ]	null	[]	2024-03-21T15:39:33+00:00	Despite the fact that I work for an openly liberal publication with a co-op business model, I am, at heart, a closet bro. I enjoyed both Entourage and the Entourage movie. I believe that Def Leppard is one of the most important rock bands to ever exist. I abhor lucidity in the evening time. I […]	en	https://lede-admin.defec…_avatar512-1.png		https://defector.com/guy-ritchie-is-the-least-appreciated-director-in-the-world	Despite the fact that I work for an openly liberal publication with a co-op business model, I am, at heart, a closet bro. I enjoyed both Entourage and the Entourage movie. I believe that Def Leppard is one of the most important rock bands to ever exist. I abhor lucidity in the evening time. I read Sydney Sweeney thinkpieces mostly for the pictures. My dream house must include an infinity pool. And I love Guy Ritchie. I. LOVE. GUY. RITCHIE. You might regard Guy Ritchie solely as a British Tarantino wannabe: a guy who rode the coattails of the '90s indie crime movie wave and parlayed some early success there into steady studio hackwork for a couple of extra decades. Or you might only think of him as the guy who married Madonna, inspiring her British Accent Phase, and then made a terrible remake of 1974’s Swept Away with her as the lead. These are all fair critiques. Also, I don’t give a shit. Because Guy Ritchie is fucking awesome. This post will explain why. In an age when studios like Marvel have done their best to turn talented directors into replaceable parts in the fuck factory, Guy Ritchie is one of the few directors to have retained the ability to make films in his own voice. He’s also still making movies that are FUNNY, at a time when studios have little to no interest in making comedies because they don’t translate to international markets. He masterminded The Gentlemen, a deadly funny TV adaptation of his own film that’s currently the top show both on Netflix and in my heart. I tore through it in just a handful of sittings, the smile never leaving my face. This is because my cheeky lad gave me the goods, just like I knew he would. Any quality Guy Ritchie project contains the following elements: Dense plotting (sometimes too dense) Heavy gunfire Jason Statham, or people who sound like Jason Statham Characters I’d like to be one day Accents I’d like to have one day Criminals introduced via montage Characters explaining how they’re about to be fucked over, or how they just fucked someone else over, again via montage (Guy Ritchie is the only modern director who can use montages effectively, without resorting to the Team America formula for them) Some of the finest actors in the world chewing the fuck out of the scenery Boxing Weed Gambling Stupid characters who fuck everything up The main guy shitting all over an underling because they asked a stupid question British aristocrats who reside on lavish estates but are more cash poor than a hobo Fancy clothes Fancier food Vinnie Jones None of these works are serious, nor are they supposed to be. These are Cockney action cartoons, and have been ever since Ritchie’s feature length debut Lock, Stock, and Two Smoking Barrels, a film that I have memorized and quote to myself every day, even when no one around me knows what movie I’m referencing. Fanny by the gaslight. Working within blessedly reasonable running times, a Guy Ritchie movie manages to fire off as many one-liners as a Simpsons episode, and with nearly as many sight gags. The first episode of The Gentlemen climaxes with a coked-up Daniel Ings dressed in a chicken outfit and straining to cluck in a sufficiently realistic manner for a ruthless drug dealer to whom he owes £500,000. It’s a perfect bit of television that abandons any pretense of reality in order to indulge every bro fantasy I’ll ever have. That’s an important thing to have out there when most movies and TVs shows are hellbent on depicting reality in as gritty and darkly lit a manner as possible. If you’ve ever watched the masterful Top Boy you know that, by comparison, Ritchie’s depictions of the English criminal underground are hardly accurate. In fact, when Guy Ritchie tries to do serious, he neglects all of the best tools in his arsenal. But when he’s free to be himself—as he has been since renting himself out as a hired gun for studio tentpole attempts like Sherlock Holmes, Man from U.N.C.L.E., King Arthur, and the live-action Aladdin remake—he’s as reliable as an AC/DC track. And there’s room for work like that in the canon. Top Boy devastated me. The Gentlemen made me want to own 15 antique shotguns and run my own weed cartel. There is harmony in this. There will likely be little recognition for the contributions that Ritchie has made to the cause of escapism. He’s never gonna win an Oscar, or a Critics Circle Award, or any of that shit. But not all art has to aspire for such accolades. Some art has to be made for bros like me, who want crime movies that double as personal fantasy. You know how often I daydream of being a criminal? ALL THE TIME. And not a lame criminal like Paul Manafort or some other sweaty American pud, but a dashing rogue with a crisp accent and an even crisper peacoat; a man who never blinks when there’s a gun in his face and who always makes time to get laid when the opportunity arises. These are the men and women who populate the GRCU, and they make for perfect theater.
28270	yago	1	6	https://kids.kiddle.co/Guy_Ritchie	en	Guy Ritchie facts for kids	https://kids.kiddle.co/i…athyHutchins.jpg	https://kids.kiddle.co/i…athyHutchins.jpg	[ "https://kids.kiddle.co/images/wk/kids-robot.svg", "https://kids.kiddle.co/images/wk/kids-search-engine.svg", "https://kids.kiddle.co/images/thumb/1/14/GuyRitchiebyKathyHutchins.jpg/300px-GuyRitchiebyKathyHutchins.jpg", "https://kids.kiddle.co/images/b/be/Guy_Ritchie.jpg", "https://kids.kiddle.co/images/thumb/2/2e/Guy_Ritchie_2012.jpg/230px-Guy_Ritchie_2012.jpg", "https://kids.kiddle.co/images/2/28/Guy_Ritchie_and_Madonna_%28September_11_2005%29.jpg", "https://kids.kiddle.co/images/thumb/9/96/Paddington._%2815566020469%29.jpg/230px-Paddington._%2815566020469%29.jpg", "https://kids.kiddle.co/images/thumb/5/5f/Kids_robot.svg/60px-Kids_robot.svg.png", "https://kids.kiddle.co/images/wk/kids-search-engine.svg" ]	[]	[]	[ "" ]	null	[]	null	Learn Guy Ritchie facts for kids	en	/images/wk/favicon-16x16.png		https://kids.kiddle.co/Guy_Ritchie	Guy Stuart Ritchie (born 10 September 1968) is an English film director, producer and screenwriter. His work includes British gangster films and the Sherlock Holmes films starring Robert Downey Jr. Ritchie left school at the age of 15, and worked in entry-level jobs in the film industry before going on to direct television commercials. In 1995, he directed a short film, The Hard Case, followed by the crime comedy Lock, Stock and Two Smoking Barrels (1998), his feature-length directorial debut. He gained recognition with his second film, Snatch (2000), which found critical and commercial success. Following Snatch, Ritchie directed Swept Away (2002), a critically panned box-office bomb starring Madonna, to whom Ritchie was married between 2000 and 2008. He went on to direct Revolver (2005) and RocknRolla (2008), which were less successful and received mixed reviews. In 2009 and 2011, he directed the box-office hits Sherlock Holmes and its sequel, Sherlock Holmes: A Game of Shadows. The former was nominated for Academy Awards in Best Original Score and Best Art Direction. His other directed films include The Man from U.N.C.L.E. (2015), based on the 1960s television series, King Arthur: Legend of the Sword (2017), and Aladdin (2019), Disney's live-action adaptation of their 1992 animated film, which grossed over $1 billion worldwide, becoming one of the highest-grossing films in 2019 and the highest-grossing film of Ritchie's career. In 2019, he returned to crime comedy with The Gentlemen (2019), which was mostly well received and a commercial success. He subsequently reteamed with Jason Statham on the action films Wrath of Man (2021) and Operation Fortune: Ruse de Guerre (2023). His second film of 2023, The Covenant, received generally positive reviews. Life and career 1968–1997: Early life and career beginnings Ritchie was born in Hatfield, Hertfordshire, the second of two children of Amber (née Parkinson) and Captain John Vivian Ritchie (b. 1928), former Seaforth Highlanders serviceman and advertising executive. He has an older sister, Tabitha, and a half-brother, Kevin, who was born to Amber Parkinson and put up for adoption. Both of Ritchie's parents remarried. His father's second marriage was to Shireen Ritchie, Baroness Ritchie of Brompton, a former model and later Conservative politician and life peer. Between 1973 and 1980, Ritchie's mother was married to Sir Michael Leighton, 11th Baronet of Loton Park. As a divorcée, she is styled as Amber, Lady Leighton. Ritchie is dyslexic, and attended Windlesham House School in West Sussex and Stanbridge Earls School in Hampshire. He was expelled from school at aged 15. ..... 1998–2002: Breakthrough After Ritchie's first project on a short film, The Hard Case (1995), in 1998, Ritchie met Matthew Vaughn, nephew of Peter Morton, co-founder of the Hard Rock Cafe chain. Vaughn had been working in Los Angeles and expressed interest in producing Ritchie's directorial debut, Lock, Stock and Two Smoking Barrels (1998). It took 15 months to secure financial backing. Trudie Styler served as an executive producer—she said "I've always liked bad-boy movies". The production of crime comedy heist Lock, Stock and Two Smoking Barrels was completed in about eight months. Starring Nick Moran, Jason Statham, Jason Flemyng and Dexter Fletcher, the film exposed them to worldwide audiences, and launched the acting career of former footballer Vinnie Jones. It was released in the United Kingdom on 28 August 1998 to critical and commercial success, with Janet Maslin of The New York Times praising Ritchie's "brash, ebullient direction" and "punchy little flourishes that load this English gangster film". The feature earned $28.1 million at the worldwide box office. At the 1999 British Academy Film Awards (BAFTAs), Lock, Stock and Two Smoking Barrels was nominated for three awards: Outstanding British Film, Best Editing and Outstanding Debut by a British Writer, Director or Producer for Vaughn. The film won a BAFTA for Film of the Year. In response to the film's success, Ritchie created a spin-off television series called Lock, Stock.... in 2000. Ritchie's next film was Snatch (2000), another crime-comedy about a group of criminals searching for a stolen diamond. Starring an ensemble cast including Benicio del Toro, Dennis Farina, Jason Flemyng, Vinnie Jones, Brad Pitt, Rade Šerbedžija and Jason Statham. Similar to Lock, Stock and Two Smoking Barrels, the film depicted events from different characters' perspectives; a narrative device which he would use in later films. Snatch was released on 23 August 2000 to a commercial success at the box office, grossing more than $83 million worldwide. Mick LaSalle, writing for San Francisco Chronicle, was impressed with Ritchie's directing and "sequences that discharge with energy", but felt the writing could have been better. Film critic Roger Ebert describes Ritchie as a "zany, high-energy director" but felt the film's plot "doesn't build and it doesn't arrive anywhere". In 2001, Ritchie directed a music video for "What It Feels Like for a Girl", a song performed by Madonna, to whom Ritchie was married at the time. In the video, she commits criminal and violent acts towards men; music channels MTV and VH1 banned the video from their rotation, opting to play it only once on the release date. Ritchie directed a short film starring Madonna and Clive Owen, titled Star for season one of The Hire, a 2001 online series to promote BMW automobiles. Ritchie's next film, starring Madonna and Adriano Giannini, was Swept Away (2002), a remake of Lina Wertmüller's 1974 Italian film of the same name. It is a romantic comedy about a wealthy socialite who is shipwrecked on a deserted island with a Communist sailor. The film was a critical and commercial failure, with an average rating of 5% on film review aggregator Rotten Tomatoes. Almar Haflidason of the BBC was critical of the lead actors, writing, "[Madonna] has neither good comedic sense nor any warmth [...] as for Giannini, he spends the first half of the movie endlessly complaining like some old fishwife". The feature won five awards at the 2002 Golden Raspberry Awards for Worst Picture, Worst Actress, Worst Screen Couple, Worst Remake or Sequel and Worst Director. In 2002, Ritchie conceived a prank show titled Swag, for Channel 5 in the United Kingdom. 2003–2015: Critical disappointments and Sherlock Holmes After a two-year hiatus, Ritchie returned to directing his next heist film. Revolver (2005), starred Jason Statham, it was their third collaboration. Also cast were Ray Liotta, Vincent Pastore and André Benjamin. The story is about a gambler called Jake Green (Statham), who is released from prison and seeks revenge on those who stole his money. Filming was completed in late 2004 and the film premiered at the 2005 Toronto International Film Festival. Revolver was released in the United Kingdom on 22 September 2005; the film was critically panned and a commercial failure. Simon Guerrier of FilmFocus, gave Revolver 1 out of 5 stars, calling it, "tedious, humourless, pretentious and nasty". Adrian Hennigan from the BBC wrote, "the cheeky charm [of his previous films] has been replaced by plodding pretentiousness in a film that's illuminated by great action set-pieces and some powerful performances, but not redeemed". Ritchie responded to the criticism by stating, "I don't think anything went wrong with Revolver. By its very nature it's an esoteric movie. It's not designed for the masses". Budgeted at $27 million, the film earned $7.1 million at the worldwide box office. In 2007, Revolver was re-edited and released for the United States. In 2008, Ritchie directed RocknRolla, for which he also wrote the screenplay. Set in London, it tells the story of a crew of gangsters, a rock star and some powerful players, all connected to each other throughout the film. It stars Gerard Butler, Tom Wilkinson, Thandie Newton, Mark Strong, Idris Elba, Tom Hardy, and Toby Kebbell. RocknRolla was released on 5 September 2008 in the United Kingdom, reaching number one at the UK box office in its first week of release. It was generally well received; Rotten Tomatoes gave the film a 60% rating, stating, "Mixed reviews for Guy Ritchie's return to his London-based cockney wideboy gangster movie roots, but most agree, it's a step in the right direction following two major turkeys". In that same year, Ritchie directed a television commercial for Nike called "Take It To The Next Level", about a young Dutch footballer who signs for Arsenal, showing the progression of his career from the beginning, through to his debut for the Netherlands. The commercial includes appearances from Cristiano Ronaldo, Cesc Fàbregas, Ronaldinho, Wayne Rooney, and Ruud van Nistelrooy. Ritchie's next directorial effort was Sherlock Holmes (2009), based on the character of the same name created by Sir Arthur Conan Doyle. Starring Robert Downey Jr. and Jude Law, the film was released on 25 and 26 December 2009 in the United States and United Kingdom, respectively. Sherlock Holmes was a box-office hit, taking more than $520 million worldwide, and garnered mixed to favourable reviews from critics and general viewers. The feature received multiple accolades, including two Academy Award nominations for Best Original Score and Best Art Direction, and Downey won a Golden Globe Award for Best Actor. In 2011, Ritchie directed the sequel, Sherlock Holmes: A Game of Shadows. Released on 16 December, the film was a commercial success, grossing more than $545 million worldwide. A. O. Scott of The New York Times praised Ritchie for "taking liberties" with the characters, and writes that both films depict "a smoky, overcast Victorian world, infuses it with an air of jocular, hairy laddishness and stages a lot of fights in fussy and tiresome slow motion". In 2012, Ritchie produced a trailer for the video game Call of Duty: Black Ops II. In 2013, he directed a commercial for H&M featuring David Beckham. A year later, he directed a commercial for whisky brand Haig, which also stars Beckham. He made a return to film in 2015, with The Man From U.N.C.L.E., a remake of the 1960s spy series of the same name. The screenplay, written by Ritchie and collaborator Lionel Wigram, tells the story of a CIA and a KGB agent who work together to stop a criminal organisation from constructing a nuclear weapon. A number of actors were considered for the lead roles, with Henry Cavill and Armie Hammer eventually being cast. Principal photography commenced in 2013 in London and Italy, with rewrites to the script during filming. The film was released on 14 August 2015 by Warner Bros. to a mixed critical reception from critics. Glenn Kenny, writing for RogerEbert.com opined, "[the film] is only intermittently engaging and amusing, and those portions of the movie that succeed are also frustrating. Because they're cushioned by enervated, conceptually befuddled, and sometimes outright indifferent stuff". However, he praised Hugh Grant's performance which "saves the movie". Filmmaking Influences and style Ritchie has cited Quentin Tarantino and Sergio Leone as influences on his work. However, he has stated "just about every film — any good film — that's ever been made has had an influence on me. But then how much of it, I have no idea". He has complimented several films including The Long Good Friday (1980), The Good, the Bad, and the Ugly (1966), Seven Samurai (1954) and Once Upon a Time in the West (1968). When asked about the influence of criminals Ronald and Reginald Kray, Ritchie states "It's inevitable ... everything, more or less, of the old-school villainy related back to the Krays at some point. And the Krays were a lot worse than everyone thinks they are. ... And I know what those boys were doing was a hundred times worse than what everyone thought was going on. So it's inevitable that anything that is genuine, and old, and British will somehow have something to do with the Krays". Ritchie's films often incorporate memorable and "colourful" characters, for instance, Irish boxer Mickey O'Neil in Snatch, and crime boss "Hatchet" Harry in Lock, Stock, and Two Smoking Barrels. In his crime films, there is also fragmented dialogue, with many characters behaving menacingly and using cockney slang. The portrayal of the British class system has also been explored. Costume designer for The Gentlemen, Michael Wilkinson, said "Each character has an iconic, memorable look — a little larger than life". Fast-paced and energetic action scenes serve as cinematic choices, as well as placing his characters in combat or violent situations. Ritchie has used fast-cutting and slow motion to build momentum in the story, and to create a high-impact viewing experience, respectively. He is also known to use interweaving stories and a non-linear narrative such as a circular plot in his films; this is found in the case of Snatch, Lock, Stock, and Two Smoking Barrels and Sherlock Holmes. Ritchie has worked multiple times with Vinnie Jones, Jason Statham, Jason Flemyng, Alan Ford, Geoff Bell, Mark Strong, Jude Law, Eddie Marsan, Jared Harris, Charlie Hunnam, Josh Hartnett, and Hugh Grant. Personal life Ritchie started training in Shotokan karate at age seven at the Budokwai in London, where he later achieved a black belt in both Shotokan and Judo. He also has a black belt in Brazilian jiu-jitsu under Renzo Gracie. Ritchie says that he can speak Hebrew. On 18 May 2000, Ritchie was arrested by police for allegedly assaulting a man outside the Kensington home that he shared with American singer-songwriter Madonna. On 22 December 2000, he married Madonna at Skibo Castle in Scotland. They had son Rocco (born 11 August 2000 in Los Angeles) and adopted a Malawian baby in 2006. Madonna filed for divorce in October 2008, citing irreconcilable differences. On 15 December 2008, Madonna announced that she had agreed to a divorce settlement with Ritchie, the terms of which grant him £50–60 million, which includes the value of the couple's London pub and Wiltshire estate in England. The couple issued a joint statement calling settlement reports "misleading and inaccurate". At the Central Family Court in Holborn, district judge Caroline Reid pronounced the decree nisi, which dissolved the marriage within six weeks. Madonna and Ritchie entered a custody agreement for their children. In February 2011, his £6 million London home was briefly occupied by members of the Really Free School, a squatter organisation. In 2010, Ritchie met model Jacqui Ainsley and they married on 30 July 2015. The couple have three children: Rafael, Rivka, and Levi. In July 2020, Ritchie was given a six-month driving ban after he was caught by CyclingMikey using a mobile device while operating a motor vehicle. Other business ventures Ritchie owns a pub, The Lore of the Land, in London, and previously co-owned another, The Walmer Castle with David Beckham until 2022 when it was taken over by Piers Adams, a French entrepreneur. Ritchie owns a small brewing company, Gritchie Brewing Company which brews beer on his Ashcombe Estate in Wiltshire. He also owns The Wild Kitchen, a firm producing outdoor cooking equipment and tents, which launched at Chelsea Flower Show in 2021. In October 2022 it was announced that Compton Abbas Airfield was being sold by the owners, the Hughes family, to Ritchie, who owns the neighbouring Ashcombe Estate. Ritchie took over running of the airfield on 1 February 2023. Some of the Gritchie Brewing Company's storage facilities will be relocated to the airfield. Ritchie became a comic writer from 2007 to 2008 with the release of the Virgin Comics series Guy Ritchie's Gamekeeper. Filmography Feature film Year Title Director Writer Producer Notes 1998 Lock, Stock and Two Smoking Barrels Yes Yes No Also casting director 2000 Snatch Yes Yes No 2002 Swept Away Yes Yes No 2005 Revolver Yes Yes No 2008 RocknRolla Yes Yes Yes 2009 Sherlock Holmes Yes No No 2011 Sherlock Holmes: A Game of Shadows Yes No No 2015 The Man from U.N.C.L.E. Yes Yes Yes 2017 King Arthur: Legend of the Sword Yes Yes Yes 2019 Aladdin Yes Yes No The Gentlemen Yes Yes Yes 2021 Wrath of Man Yes Yes Yes 2023 Operation Fortune: Ruse de Guerre Yes Yes Yes Guy Ritchie's The Covenant Yes Yes Yes 2024 The Ministry of Ungentlemanly Warfare Yes Yes Yes 2025 In the Grey Yes Yes Yes Post-production TBA Fountain of Youth Yes No Yes Filming Wife and Dog Yes Yes Yes Short film Year Title Director Writer Notes 1995 The Hard Case Yes Yes 2001 The Hire Yes Yes Segment: Star Cameo appearance Year Title Role 2000 Snatch Man reading newspaper 2008 RocknRolla Man riding bicycle 2017 King Arthur: Legend of the Sword Inn owner Television Year Title Director Executive producer Writer Notes 2000 Lock, Stock... No Yes Yes Wrote episode: "...and Four Stolen Hooves" 2024 The Gentlemen Partial Yes Yes The Donovans Yes No Yes 0TBA Gracie No Yes No Filming See also In Spanish: Guy Ritchie para niños
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Current Top 3: Snatch, Lock, Stock and Two Smoking Barrels, The ...	en	/img/icons/touch-icon-iphone.png	Ranker	https://www.ranker.com/list/movies-and-films-directed-by-guy-ritchie/ranker-film	With over 1,000 movie fans casting votes, this list of the best movies directed by Guy Ritchie is the perfect guide for those looking to explore his uniquely creative style. Across a career spanning decades, Guy Ritchie has established himself as one of Hollywood's most distinctive directors. His films are known for their thrilling action sequences, sharp dialogue, and inventive camera work that keeps viewers hooked from start to finish. From cult classics like Lock, Stock and Two Smoking Barrels to blockbuster hits such as Aladdin and The Man from U.N.C.L.E., there's something on this list for everyone who appreciates Ritchie's unique brand of filmmaking. Fans love how he takes classic stories and injects them with an edgy sense of humor that keeps audiences coming back for more. Whether you're a longtime admirer or just discovering his work now, these are the must-see films helmed by one of modern cinema’s brightest stars. So why not take a look at the list below and vote up your favorite Guy Ritchie flicks?
28270	yago	2	85	https://ratingflix.com/guy-ritchie-movies/	en	Top 9 Guy Ritchie Movies, Ranked	https://ratingflix.com/w…png-1024x576.png	https://ratingflix.com/w…png-1024x576.png	[ "https://ratingflix.com/wp-content/uploads/2024/04/photo-collage.png.png", "https://ratingflix.com/wp-content/uploads/2024/07/Screenshot-2024-07-07-at-7.59.57 PM-150x150.webp", "https://ratingflix.com/wp-content/uploads/2024/07/Screenshot-2024-07-07-at-7.47.16 PM-780x1024.webp", "https://ratingflix.com/wp-content/uploads/2024/07/Screenshot-2024-07-07-at-7.47.30 PM-780x1024.webp", "https://ratingflix.com/wp-content/uploads/2024/07/Screenshot-2024-07-07-at-7.47.46 PM-687x1024.webp", "https://ratingflix.com/wp-content/uploads/2024/07/Screenshot-2024-07-07-at-7.56.09 PM-687x1024.webp", "https://ratingflix.com/wp-content/uploads/2024/07/Screenshot-2024-07-07-at-7.56.18 PM-687x1024.webp", "https://ratingflix.com/wp-content/uploads/2024/07/Screenshot-2024-07-07-at-7.56.26 PM-687x1024.webp", "https://ratingflix.com/wp-content/uploads/2024/07/Screenshot-2024-07-07-at-7.59.35 PM-687x1024.webp", "https://ratingflix.com/wp-content/uploads/2024/08/IMG_4967-1024x576.webp", "https://ratingflix.com/wp-content/uploads/2024/08/IMG_4882-1024x762.webp", "https://ratingflix.com/wp-content/uploads/2024/08/alain-delon-3-1024x555.webp", "https://ratingflix.com/wp-content/uploads/2024/08/Screenshot-2024-08-18-at-3.09.52 AM-1024x631.webp" ]	[ "https://ratingflix.com/denis-villeneuves-movies/embed/#?secret=r8aCcWVBK4#?secret=VyUSIDPhOX" ]	[]	[ "" ]	null	[ "T.M. Yasir Arafat" ]	2024-04-12T16:36:49+00:00	Guy Ritchie movie is The Gentle Man. List of Guy Ritchie Films Snatch (2000), 2. Lock Stock and Two Smoking Barrels (1998) & find more.	en	https://ratingflix.com/w…go-2-1-32x32.png	Rating Flix	https://ratingflix.com/guy-ritchie-movies/	Welcome to this blog about Guy Ritchie movies. In this blog you to find the List of Guy Ritchie’s Movies and summary of those movies. In my opinion the Best Guy Ritchie movie is The Gentle Man. List of Guy Ritchie’s Films Ranked Snatch (2000), 2. Lock Stock and Two Smoking Barrels (1998),3. Sherlock Holmes guy ritchie’s the covenant Guy Ritchie Movies Now, I will guide you to find some of the List of Guy Ritchie’s Films. 1. Lock, Stock and Two Smoking Barrels (1998) – IMDb: 8.2 Summary: In this Guy Ritchie movie a crime crime comedy, a group of friends finds themselves in debt to a local mobster. The film follows their attempts to repay the debt through a series of convoluted schemes involving theft, drugs, and plenty of humor. Directed by Guy Ritchie, “Lock, Stock and Two Smoking Barrels” marked his breakthrough in the film industry. Its ensemble cast, including Jason Flemyng, Dexter Fletcher, Nick Moran, and Jason Statham, delivered memorable performances. Moreover, the film’s gritty portrayal of London’s criminal underworld, combined with Ritchie’s unique visual style and sharp dialogue, established it as a cult classic. Cast: Jason Flemyng, Dexter Fletcher, Nick Moran, Jason Statham. Also Read: Jake Gyllenhaal Movies 2. Snatch (2000) – IMDb: 8.3 Summary: “Snatch” is a fast-paced crime comedy Guy Ritchie Films featuring multiple intersecting storylines involving gangsters, diamond heists, and a prized stolen dog. Guy Ritchie movie signature style shines through in the witty dialogue, eccentric characters, and unexpected plot twists. Agian, the film’s non-linear narrative keeps viewers on the edge of their seats as they follow a colorful cast of characters. The Castincludes Turkish, Tommy, and the incomparable Bullet-Tooth Tony, portrayed by Vinnie Jones. On the other hand, Brad Pitt’s portrayal of the Irish gypsy boxer, Mickey O’Neil, garnered particular praise for its humor and authenticity. Moreover, with its slick editing, stylish cinematography, and energetic soundtrack, “Snatch” solidified Ritchie’s reputation as a master of the crime genre. Cast: Benicio Del Toro, Dennis Farina, Vinnie Jones, Brad Pitt. 3. Revolver (2005) – IMDb: 6.5 Summary: This psychological crime thriller Guy Ritchie’s Film follows a gambler named Jake Green. Who, upon his release from prison, seeks revenge against a crime boss named Dorothy Macha. As Jake navigates the dangerous world of underground gambling, he uncovers secrets about himself and his adversaries. Also, “Revolver” marks a departure from Ritchie’s previous works, searching into more existential themes of ego, identity, and redemption. On the other hand Jason Statham delivers a compelling performance as Jake Green, showcasing his range beyond action roles. Moreover, The film’s intricate plot and surreal imagery invite multiple viewings to fully grasp its underlying messages. Despite receiving mixed reviews upon its release, “Revolver” has gained a cult following for its bold experimentation and thought-provoking narrative. Cast of Revolver: Jason Statham, Ray Liotta, André Benjamin, Vincent Pastore 4. RocknRolla Guy Ritchie (2008) – IMDb: 7.3 Summary: Number three on the List of Guy Ritchie Films “RocknRolla” is a stylish crime caper set in London’s underworld. The plot revolves around a group of criminals, a stolen painting. Also, a Russian billionaire, all caught up in a web of deception and double-crossing. Again, Guy Ritchie’s kinetic direction and knack for ensemble casts are on full display, with standout performances. Mark Strong delivers a memorable turn as Archie, a crafty accountant. Also, with ties to both the criminal underworld and the upper echelons of society. To conclude, its fast-paced narrative, witty dialogue, and visual flair makes it a thrilling ride from start to finish. Cast of Rock N Rolla: Gerard Butler, Tom Wilkinson, Thandie Newton, Mark Strong. 5. Sherlock Holmes (2009) – IMDb: 7.6 Summary: Ritchie puts his spin on the classic detective duo of Sherlock Holmes and Dr. John Watson. This movie played by Robert Downey Jr. and Jude Law respectively. To mention, this Guy Ritchie movie combines action, mystery, and humor as Holmes and Watson unravel a complex conspiracy. To be specific, Downey Jr. brings a charismatic energy to the role of Holmes, portraying the detective as a brilliant but eccentric sleuth with a penchant for deduction and disguise. On the other hand, Watson serves as the perfect foil, providing both comic relief and unwavering loyalty to his friend. Moreover, the film’s period setting is brought to life through lavish production design and elaborate set pieces, transporting audiences to Victorian London in all its gritty splendor. Cast: Robert Downey Jr., Jude Law, Rachel McAdams, Mark Strong. 6. Sherlock Holmes: A Game of Shadows (2011)- IMDb: 7.5 Summary: The sequel to Ritchie’s “Sherlock Holmes” sees Holmes and Watson facing off against their greatest adversary yet, Professor Moriarty. This Guy Ritchie films is filled with elaborate set pieces, clever deductions, and the dynamic chemistry between Downey Jr. and Law. Jared Harris delivers a chilling performance as Moriarty, Moriarty, the mastermind behind a series of terrorist events threatening to plunge Europe into chaos. Agian, Noomi Rapace joins the cast as a mysterious gypsy named Sim, adding an extra layer of intrigue to the proceedings. Moreover, its globe-trotting plot and pulse-pounding action sequences, “A Game of Shadows” is a worthy successor to its predecessor. Cast: Robert Downey Jr., Jude Law, Jared Harris, Noomi Rapace. Read Also: Best Horror Movies of All Time 7. The Man from U.N.C.L.E. (2015) – IMDb: 7.3 Summary: Guy Ritchie’s stylish spy film is set in the 1960s and follows CIA agent Napoleon Solo and KGB operative Illya Kuryakin. After that, they team up to stop a criminal organization from acquiring nuclear weapons. The film is filled with action, humor, and retro charm. On the other hand, Henry Cavill and Armie Hammer showcase their chemistry as Solo and Kuryakin, respectively. Trading quips and punches as they race against time to save the world. Again, Alicia Vikander as Gaby, a feisty mechanic caught in the crossfire, while Elizabeth Debicki oozes sophistication as the enigmatic villainess, Victoria Vinciguerra. With its slick visuals, groovy soundtrack, and tongue-in-cheek humor, “The Man from U.N.C.L.E.” is a homage to the spy thrillers. Cast: Henry Cavill, Armie Hammer, Alicia Vikander, Elizabeth Debicki 8. King Arthur: Legend of the Sword (2017) – IMDb: 6.7 Summary: This reimagining of the King Arthur legend is a gritty, action-packed adventure Guy Ritchie’s film. This follows Arthur’s journey from a streetwise hustler to the rightful heir of the throne. To mention, the film features Guy Ritchie’s Movies trademark style, with action sequences and colorful characters. Charlie Hunnam brings swagger and charisma to the role of Arthur, leading a talented ensemble cast that includes Jude Law as the villainous Vortigern . Djimon Hounsou and Eric Bana round out the cast with strong supporting performances. Despite its deviation from traditional Arthurian lore, “King Arthur: Legend of the Sword” offers a fresh take on the legendary tale, blending fantasy. 9. Guy Ritchie’s The Covenant (2023)- IMDb: 7.5 Summary: An American sergeant who was in Afghanistan during a war, finds an interpreter for his army in exchange of a promised Visa of America for him and his family. When they were going for a mission, the guy helps them to find the mole from the army group who set up a bush against the armed forces. Interpreter guy gets kind attention of the sergeant role played by Jake Gyllenhaal. Then, on another mission, they got attacked by some furious Afghan local band and most of the force members were killed. Also, the sergeant gets seriously wounded, Ahmed the interpreter carries him through a perilous journey, jeopardizing his own life. Though at last he had to take a gun in his hand to save him and his sergeant, and then he disappeared as expecting a life threat. After this adventures and thrilling journey, the sergeant tries hard to keep his promise. To find Ahmed, he comes back to Afghanistan once again. Cast of Guy Ritchies The Covenant: Jake Gyllenhaal, Dar Salim, Antony Starr, Fariba Sheikhan, Emily Beecham. This list contains the best movies of Guy Ritchie. If you want to read more post like this then read more bellow.
28270	yago	0	73	https://www.theguardian.com/film/2014/jan/31/guy-ritchie-right-director-king-arthur-epic	en	Is Guy Ritchie the right director for the King Arthur epic?	https://i.guim.co.uk/img…058e8a1f5109a8cd	https://i.guim.co.uk/img…058e8a1f5109a8cd	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035250&cv=2.0&cj=1&cs_ucfr=0&comscorekw=Film%2CGuy+Ritchie%2CKenneth+Branagh%2CCulture%2CGuillermo+del+Toro%2CWarner+Bros%2CPeter+Jackson", "https://i.guim.co.uk/img/static/sys-images/Guardian/Pix/pictures/2014/1/30/1391105600885/African-Cats-film-premier-011.jpg?width=465&dpr=1&s=none" ]	[]	[]	[ "" ]	null	[ "Ben Child", "www.theguardian.com" ]	2014-01-31T00:00:00	<p><strong>Ben Child: </strong>Ritchie may be set to direct Warner's six-film King Arthur saga, but could Peter Jackson, Guillermo del Toro or Kenneth Branagh bring something better to the table?</p>	en	https://assets.guim.co.u…e-touch-icon.svg	the Guardian	https://www.theguardian.com/film/2014/jan/31/guy-ritchie-right-director-king-arthur-epic	There are very few classic swords and sorcery properties that seem ripe for revival on the big screen: Peter Jackson's splendid Lord of the Rings trilogy finally wiped out memories of Ralph Bakshi's brave but half-finished 1978 effort. There will never be a Conan movie as fabulous as John Milius's Conan the Barbarian, from 1982, and it ought to be a good 20 years before we have to see another Harry Potter movie. But it's easy to argue that there has never been a definitive movie about King Arthur, so the news this week that we're about to get a six-film Arthurian saga from Warner Bros really ought to be cause for celebration. The question, however, is whether Guy Ritchie is the right man to bring the story of the once and future king to the big screen. While the British director has expanded his remit dramatically since the era of brutal 1990s east Larndarn gangster flicks Lock, Stock and Two Smoking Barrels and Snatch, he has done so by becoming a technically adept director-for-hire on Hollywood's current action-orientated take on Sherlock Holmes. The second film in that series, 2011's Game of Shadows, was a surprisingly deft and spiky adventure movie, but the saga as a whole leaves a lot to be desired. Overly reliant on CGI backdrops and Ritchie's penchant for slow-mo/fast-mo fight sequences, it is as if the long-dead corpse of Sir Arthur Conan Doyle's great sleuth has been reanimated using the life-force of a 19-year-old American college fratboy with an addiction to Xbox 360. The fear is that his new project might go the same way, and frankly, nobody wants to see King Arthur and Lancelot battling it out in the melee using techniques borrowed from Krav Maga and UFC. It should also be mentioned that the script for Warner's latest take on King Arthur is written by one Joby Harold, a screenwriter whose only released big-screen effort is the critically derided 2007 medical thriller Awake. The epic story of Merlin, Lancelot and Guinevere, Gawain and the round table surely needs a more delicate sensibility if the film series is to be a success. Here are three film-makers who might make a difference. Peter Jackson With Jackson's movies based on the work of JRR Tolkien having now taken almost $5bn at the global box office, you might think Hollywood would turn to similarly minded film-makers for England's other great fantasy myth. Jackson's writing team – himself, Fran Walsh and Philippa Boyens – carefully deconstructed The Lord of the Rings and brilliantly repositioned it for the big screen, in the process adding vital humanity and a sense of light amid the darkness often lacking in the rather more doom-laden literary source. That ability to deliver warmth and a sense of joy is absolutely essential for King Arthur, a story of heroism and glory which nevertheless ends on a bum note. John Boorman's Excalibur, from 1982, shows the risks of going too far in the other direction: it's a deliciously sour confection which conjures up an inspired vision of otherworldly dark ages violence. But it's also rather like staring into a pool of dead things for two hours. Kenneth Branagh A few years back our Ken might have been the ideal candidate to play young Arthur himself: these days he would be better placed behind the camera, or as a weary older take on the character. Branagh has those wonderful scenes of mud-faced jingoistic patriotism from Henry V to inspire him for the king's battles against the Anglo-Saxons, and his recent stint in charge of superhero flick Thor proved he can imbue even the lightest of material with a dash of Shakespearean colour. And surely the challenge of developing one of England's greatest myths is fitting for an artist whose early career was spent bringing the Bard to the big screen – at the very least it's got to be more fun than directing Cinderella. Guillermo del Toro
28270	yago	0	24	https://www.myfilmviews.com/2018/01/19/the-hire-2001-2002-2016-review/	en	The Hire (2001/2002/2016) – Review	http://www.defilmkijker.com/wp-content/uploads/2017/11/Recensie-The-Hire.jpg	http://www.defilmkijker.com/wp-content/uploads/2017/11/Recensie-The-Hire.jpg	[ "https://www.myfilmviews.com/wp-content/uploads/2015/04/My-Filmviews-banner.jpg", "http://www.defilmkijker.com/wp-content/uploads/2017/11/Recensie-The-Hire.jpg", "http://www.defilmkijker.com/wp-content/uploads/2017/11/Review-The-Hire.jpg", "http://www.defilmkijker.com/wp-content/uploads/2017/11/Bespreking-The-Hire.png", "https://www.myfilmviews.com/wp-content/uploads/2014/04/score.jpg", "https://www.myfilmviews.com/wp-content/uploads/2014/04/smallscore8.gif", "https://www.myfilmviews.com/wp-content/uploads/2014/04/right_score_round.jpg", "https://secure.gravatar.com/avatar/cda12d6f84ec172e348cbb605a204f7e?s=40&d=mm&r=g", "https://secure.gravatar.com/avatar/a11729a0099ae08dd7fab8cbed6c8c9b?s=40&d=mm&r=g", "https://www.myfilmviews.com/wp-content/uploads/2015/05/De-Filmkijker.jpg" ]	[]	[]	[ "" ]	null	[]	2018-01-19T00:00:00	How many movie franchises can you name on which the best directors like Ang Lee, Wong Kar-wai, Guy Ritchie, Alejandro González Iñárritu, John Woo, Joe Carnahan, Tony Scott and Neill Blomkamp have w…	en	https://www.myfilmviews.…s-logo-32x32.jpg	My Filmviews	https://www.myfilmviews.com/2018/01/19/the-hire-2001-2002-2016-review/	How many movie franchises can you name on which the best directors like Ang Lee, Wong Kar-wai, Guy Ritchie, Alejandro González Iñárritu, John Woo, Joe Carnahan, Tony Scott and Neill Blomkamp have worked on, which have also been produced by David Fincher and Ridley Scott? You will probably respond that such a film series does not exist. That is until you hear of The Hire. BMW Films has managed to bring all these names, plus many more famous actors, together to create a series of short films in which a BMW is shown prominently and is driven by “The Driver” (Clive Owen). The great thing about this franchise is that BMW has actually put no restrictions on the directors, except that the main character drives a BWM. That results in a very varied series of short films. Ridley Scott made a film in which James Brown makes a pact with the devil (played by Gary Oldman), Guy Ritchie chose to have his then-girlfriend Madonna (who, to be honest, is horrible at acting) in a very comical short throwing her around the car. And it allowed Ang Lee to make an almost spiritual ballet of cars when The Driver has to make sure that a Buddhist child reaches his destination safely. Every director has their own vision and you can see their style in the films. It makes it a pleasure to watch them, especially with a running time which often is less ten minutes. My favorite in the series is the short of Alejandro González Iñárritu, in which The Driver tries to bring a war photographer to safety. It feels raw and he does not shy away from showing the less beautiful sides of war.
28270	yago	3	4	https://film613.ca/review-the-hire/	en	Review: The Hire	https://film613.ca/wp-co…3/01/thehire.jpg	https://film613.ca/wp-co…3/01/thehire.jpg	[ "https://film613.ca/wp-content/uploads/2021/11/cropped-cropped-film613_logo_980x100.png", "https://film613.ca/wp-content/uploads/2021/11/team_jithpaul.jpg", "https://film613.ca/wp-content/uploads/2021/12/DirtTownStill-500x250.jpg", "https://film613.ca/wp-content/uploads/2024/03/film613review-aconversationinpassing-500x250.jpg", "https://film613.ca/wp-content/uploads/2022/10/Jelly-Nick-500x250.jpg", "https://film613.ca/wp-content/uploads/2021/12/flexedarmhang2-500x250.jpg", "https://film613.ca/wp-content/uploads/2023/10/film613review-ocan23-laundry-500x250.jpg", "https://film613.ca/wp-content/uploads/2023/10/film613review-ocan23-aloveletter-500x250.jpg", "https://film613.ca/wp-content/uploads/2023/01/ocan-logo-400x.png" ]	[ "https://www.youtube.com/embed/T6QtNxHUPN8?feature=oembed", "https://www.youtube.com/embed/HONrBK8litA?feature=oembed", "https://www.youtube.com/embed/aeDoJsUUDHc?feature=oembed", "https://www.youtube.com/embed/30jRjhRp6l4?feature=oembed" ]	[]	[ "" ]	null	[ "Jith Paul", "film613" ]	2023-01-28T09:00:03-05:00	“The Hire series from BMW was viral branded content before the age of viral branded content.” - Jith Paul		https://film613.ca/wp-co…hitebg-32x32.jpg	film613 blog	https://film613.ca/review-the-hire/	In 2001 BMW commissioned a series short films to be made specifically “for the internet”. For context, this was four years before the first video was uploaded to YouTube in 2005. The series centred on a nameless protagonist, an expert driver, who was often hired to take on difficult extractions or deliveries. Clive Owen was cast as the lead and each film featured a different car from the BMW line. Well-known directors were tapped to put together each episode with budgets rumoured to be in the millions of dollars. Clive Owen was a favourite to play the new James Bond at the time, and these films felt like an extended audition or a preview of things to come. Although I haven’t seen any published stats increased car sales as a result of the campaign, I really enjoyed watching these actors, directors, and crew push storytelling to new heights within the constraints of what is essentially a long car commercial. A DVD edition of some of the films was made available for a limited time, packaged with Behind the Scenes videos, and I was quick to snap up a copy. It is difficult to pick just a few to highlight because each one stands out, in its own way. Here are my favourites. Ambush (directed by John Frankenheimer, featuring the BMW 740i) Hostage (directed by John Woo, featuring BMW Z4 3.0i) Star (directed by Guy Ritchie, featuring the BMW M5) Powder Keg (directed by Alejandro Iñárritu, featuring the BMW X5 3.0i) With the rise of social media platforms, branded content has snuck its way into all kinds of formats. It’s great to see skillful and innovative creatives pretty much invent it in 2001, proving that good visual storytelling can be used to make campaigns memorable. BMW’s “The Hire” campaign was viral branded content before the age of viral branded content. Ambush (directed by John Frankenheimer, featuring the BMW 740i) “While escorting an elderly man to an undisclosed location, the Driver is confronted by a van full of armed men and is warned that the old man has stolen a large amount of diamonds. The old man claims to have swallowed the diamonds and that the men will likely cut him open to retrieve them. The Driver decides at the last minute to help him, participating in a car chase and shootout with the van.” For me, this one was all about the elaborate set-up of the chase scene. Frankenheimer knows a thing or two about doing this well (See ‘Ronin’ if you haven’t seen it. See it again if you have seen it). This short film will get your heart pumping. Hostage (directed by John Woo, featuring BMW Z4 3.0i) “The Driver is hired by the FBI to help defuse a hostage situation. A disgruntled employee has kidnapped a CEO and has hidden her, demanding $5,088,042 for her release. The Driver delivers the money, writing the sum on his hand as instructed by the hostage taker, and is then ordered to burn the money. As he complies, the federal agents break in and attempt to subdue the man, who shoots himself in the head without revealing the woman’s location.” If I recall correctly, this is the only short film that featured a convertible. You won’t see doves flying in slow motion, but you will see shell casings fall in slow motion, and the film has an undeniable ”John Woo” feel and a memorable ending. Star (directed by Guy Ritchie, featuring the BMW M5) “The Driver is chosen by a spoiled and shallow celebrity to drive her to a venue. Unbeknownst to her, her manager has actually hired the Driver to teach the celebrity a lesson. Pretending to escape her pursuing bodyguards, the Driver recklessly drives through the city, tossing the hapless celebrity all around the backseat. They arrive at the venue, where she is thrown out of the car and photographed by paparazzi in an embarrassing end on the red carpet.” Madonna and Guy Ritchie were married at the time and it was entertaining and hilarious to see Madonna make fun of herself playing the superstar diva. Powered Keg (directed by Alejandro Iñárritu, featuring the BMW X5 3.0i) “The Driver is chosen by the UN to rescue a wounded war photographer named Harvey Jacobs from a hostile territory. While they are leaving Jacobs tells the Driver about the horrors he saw as a photographer, but he regrets his inability to help war victims. Jacobs answers the Driver’s curiosity about why he is a photographer by saying how his mother taught him to see. He gives the Driver the camera film needed for a New York Times story and also his dog tags to give to his mother. When they reach the border, they are confronted by a guard who begins to draw arms as Jacobs begins taking pictures, seemingly trying to get himself killed. The Driver drives through a hail of gunfire to the border, but finds Jacobs killed by a bullet through the seat. The Driver arrives in America to visit Jacobs’ mother and share the news of him winning the Pulitzer Prize and hand over the dog tags”. If I had to pick one, this is my favourite. It introduced me to Iñárritu, who went on to direct films like ‘Babel’, ‘Birdman’ and ‘The Revenant’. His BMW short film is quiet, and ends with an emotional punch. An added bonus: The film also stars the incredible Stellan Skarsgård, whose skill I have recently come to appreciate even more, watching the Star Wars series ‘Andor’.
28270	yago	2	93	https://variety.com/2024/tv/global/ray-winstone-the-gentlemen-guy-ritchie-falling-out-gangster-persona-1235934902/	en	Ray Winstone Talks Starring in ‘The Gentlemen’ After ‘Falling Out’ With Guy Ritchie and His Gangster Persona: ‘My Wife Always Says, “Why Do You Look Like You’re Going to Kill Someone?”‘	https://variety.com/wp-c…000&h=563&crop=1	https://variety.com/wp-c…000&h=563&crop=1	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://variety.com/wp-content/uploads/2024/03/GettyImages-2061964362-copy.jpg?w=1000&h=563&crop=1", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://variety.com/wp-content/themes/pmc-variety-2020/assets/public/lazyload-fallback.gif", "https://pixel.quantserve.com/pixel?a.1=&a.2=p-31f3D02tYU8zY", "https://px.ads.linkedin.com/collect/?pid=1429113&fmt=gif" ]	[]	[]	[ "" ]	null	[ "Alex Ritman" ]	2024-03-08T15:40:11+00:00	With 'The Gentlemen,' 'Damsel' and 'A Bit of Light,' Winstone has three projects coming out almost back-to-back.	en	https://variety.com/wp-c…e-touch-icon.png	Variety	https://variety.com/2024/tv/global/ray-winstone-the-gentlemen-guy-ritchie-falling-out-gangster-persona-1235934902/	Many of cinema’s hard men are notorious softies in real life. Ray Winstone may well be one of those, even if he admits to not looking particularly approachable. “My wife always says to me, ‘Why do you look like you’re going to kill someone when you walk into a room?'” he tells Variety. “But I don’t mean to!” Winstone’s long-standing status as the go-to man to depict violent approach-with-caution individuals or British mob bosses continues to serve him, however, as “The Gentleman” — Guy Ritchie’s eight-part Netflix spinoff of his 2019 gangster comedy feature of the same name — proves. In the series, awash in the classic Ritchie mix of guns, drugs, violence, aristocrats, boxing and tweed, Winstone stars as a gangland patriarch and head of a massive weed-growing empire. Because of course he does — who else would you cast as an elder statesman than the actor who has practically owned that screen role for 45 years? “It’s gone past very quick,” says Winstone of the years since his 1979 breakout as a violent teenage offender in Alan Clarke’s “Scum” (a part he only got after talking his way into the room and impressing Clarke with his confidence). That same year, he also starred in U.K. classic “Quadrophenia” and drama “That Summer!,” for which he earned a best newcomer BAFTA nomination (he returned to the BAFTAs 18 years later with a leading man nominations for “Nil by Mouth”). But Winstone — who also appears in Netflix’s new fantasy feature “Damsel” — admits that it’s only while doing press that he looks back on a much-celebrated career now spanning five decades across film, TV and stage. “It’s not until you sit down and you’re asked questions and reflect on it and you think, ‘Oh yeah, I’ve worked with Spielberg, (‘Indiana Jones and the Kingdom of the Crystal Skull’), Scorsese (‘The Departed’), I’ve worked with Aronofsky (‘Noah’), I’ve worked with Jonathan Glazer (‘Sexy Beast’).’ And you go, ‘Oh, that’s quite a body of directors over the years,’” he says. “And if you haven’t learned anything from them, you’re never going to learn anything!” Winstone credits 1997’s “Nil by Mouth” — Gary Oldman’s writing and directorial debut, in which he played an abusive husband alongside Kathy Burke — as bringing him back from a lengthy period of cinematic inactivity. But he says it was a period of mostly TV and stage work where he was able to actually focus on honing his craft, with his entry as an actor having happened practically overnight and with little training. “I didn’t do it that way on purpose, but in those years I was learning something,” he says. “I was around people like Ian Rickson at the Royal Court and he helped put me in touch with my feminine side, which was really helpful for me, because I was a bit of a geezer. So it stood me in good stead over the years.” Over the years since, Winstone has spread his wings across numerous genres, including big-budget studio productions like Antoine Fuqua’s 2004 actioner “King Arthur” (playing the knight Bors, prompting Fuqua to liken him to the “British De Niro”), Robert Zemeckis’ animated adaptation of “Beowulf” and Marvel’s “Black Widow” (playing Russian villain Dreykov). Then there’s smaller low-budget indie titles such as New Zealand period action-thriller “Tracker,” Tim Roth’s “The War Zone” and boxing drama “Jawbone” (written by his friend Johnny Harris). But the “geezer” persona is one that has followed him along the way, thanks to hard man roles in “Sexy Beast,” plus “The Sweeney,” “The Departed” and many others making use of his gruff tones and swagger. Given this status, many might find it strange that “The Gentlemen” marks Winstone’s first collaboration with Ritchie, a filmmaker who has made a career out of British gangsters and geezers. As a matter of fact, Winstone was originally due to star in Ritchie’s 1998 breakout “Lock, Stock and Two Smoking Barrels,” but it didn’t work out. “We had a falling out,” he says. “There were one or two things that I didn’t like that went on, so we fell out, but over the years it mended itself. And he’s making wonderful films. You know his films, you look at them and you go, ‘That’s a Guy Ritchie movie.’” Winstone has yet to appear in a Ritchie movie, despite “The Gentlemen.” But with the series, plus Netflix’s Millie Bobby Brown-led fantasy feature “Damsel” (in which he plays a lord hoping to sacrifice his daughter to pay off his debt) and British indie “A Bit of Light” (playing a newly sober father alongside Anna Paquin), he’s got three projects coming out almost back-to-back — much like he did 45 years ago as a young man making his first entry into the industry. They’re also different enough — a gangland drama, studio flick and independent feature — that they perfectly surmise how Winstone has mixed things up over the years since then. “You can’t plan it, but it’s lovely when it happens,” he says of his upcoming works. “And making the indie really was the icing on the cake.”
28270	yago	2	1	https://medium.com/%40marilynstanton/all-guy-ritchie-movies-in-order-ae688b785fef	en	All 22 Guy Ritchie Movies (in Order)	https://miro.medium.com/v2/da:true/resize:fit:1200/0*g48yDgUcefny2itz	https://miro.medium.com/v2/da:true/resize:fit:1200/0*g48yDgUcefny2itz	[ "https://miro.medium.com/v2/resize:fill:64:64/1dmbNkD5D-u45r44go_cf0g.png", "https://miro.medium.com/v2/da:true/resize:fill:88:88/0ByazN4UbeOyBNfTK", "https://miro.medium.com/v2/da:true/resize:fill:144:144/0*ByazN4UbeOyBNfTK" ]	[]	[]	[ "" ]	null	[ "Marilyn Stanton", "medium.com" ]	2024-03-17T03:11:40.280000+00:00	Dive into the world of Guy Ritchie’s movies as we bring you a roundup of his greatest hits. From gritty crime dramas to dazzling action-adventures, Ritchie’s filmography showcases his unique…	en	https://miro.medium.com/v2/5d8de952517e8160e40ef9841c781cdc14a5db313057fa3c3de41c6f5b494b19	Medium	https://medium.com/@marilynstanton/all-guy-ritchie-movies-in-order-ae688b785fef	Dive into the world of Guy Ritchie’s movies as we bring you a roundup of his greatest hits. From gritty crime dramas to dazzling action-adventures, Ritchie’s filmography showcases his unique storytelling prowess and impeccable sense of style. Discover the standout performances and memorable moments that have made these films unforgettable. 1. Lock, Stock and Two Smoking Barrels (1998) Lock, Stock and Two Smoking Barrels” is a thrilling and darkly comic crime film from 1998, written and directed by Guy Ritchie. The story revolves around the lives of four British friends, who find themselves in a dangerous situation when they agree to pool their money together to participate in a high-stakes poker game against a powerful local mobster, Hatchet Harry. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 2. Snatch (2000) Snatch, a thrilling 2000 film, takes you on a wild rollercoaster ride filled with a unique blend of comedy, crime, and chaos. Directed by Guy Ritchie and narrated by one of the characters with a distinctive cockney accent, this movie centers around the relentless pursuit of a priceless stolen diamond. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 3. Brit Awards 2001 (2001) Unleash the magic of 2001’s unforgettable Brit Awards 2001, a spectacular celebration of the best in British music. Hosted by the dynamic duo, Ant and Dec, this one-of-a-kind event featured a star-studded cast, including an appearance by the pop sensation A1, and a live audience full of adoring fans. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 4. Mean Machine (2001) Mean Machine, a 2001 crime comedy-drama film, tells the story of a former football star who finds himself behind bars for assault. Leading a team of inmates, they take on the prison guards in a high-stakes soccer match. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 5. Swept Away (2002) Get ready for a delightful romantic comedy escapade as Swept Away unfurls before your eyes. This 2002 film, directed by Guy Ritchie, follows the tale of a snooty socialite who finds herself marooned on a picturesque Mediterranean island with a rugged communist sailor, portrayed by Adriano Giannini. While their initial interactions may be tense, the duo soon discover an undeniable chemistry that breathes life into their characters, creating a humorous and captivating narrative. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 6. 2003 MTV Video Music Awards (2003) Experience the thrill of the 2003 MTV Video Music Awards, the 21st annual celebration of music videos and the artists who bring them to life. Hosted by the hilarious Chris Rock, this star-studded event features some of the biggest names in 2000s music. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 7. I’m Going to Tell You a Secret (2005) Prepare to be swept away by the electrifying energy of I’m Going to Tell You a Secret, an unforgettable music documentary. Featuring an iconic performance by the one and only Madonna, the film captures her 2004 Re-Invention World Tour in all its raw, pulsating glory. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 8. Revolver (2005) Revolver” is an action-packed crime thriller that follows gambler Jake Green as he faces the deadly consequences of entering into a high-stakes game. Directed by Guy Ritchie and written by him along with Luc Besson, the film stars Jason Statham, Ray Liotta, and André 3000. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 9. Brit Awards 2006 (2006) Experience the magic of British pop music at its finest with the annual Brit Awards 2006! . This star-studded television special is a celebration of the UK’s thriving music industry, filled with electrifying live performances, surprise celebrity appearances, and the glittering atmosphere of the prestigious event. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 10. RocknRolla (2008) RocknRolla is an action-packed, crime thriller that takes us into the shadowy, dangerous world of London’s criminal underworld. Directed and written by Guy Ritchie, the film sees a Russian mobster mastermind a corrupt land deal that sets off a feeding frenzy among the city’s most ruthless gangs. With millions of dollars at stake, loyalties will be tested, and alliances forged in this wild, adrenaline-fueled race to claim the prize. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 11. Madonna: Celebration — The Video Collection (2009) Dive into the world of Madonna with “Madonna: Celebration — The Video Collection” (2009), an impressive compilation of music videos spanning her illustrious career from 1983 to 2009. This visually stunning collection, featuring iconic tracks like “Vogue, “ “Like a Prayer, “ and “Express Yourself, “ takes viewers on a journey through Madonna’s evolution as an artist. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 12. Sherlock Holmes (2009) Sherlock Holmes, “ directed by Guy Ritchie, is a riveting action-adventure film that combines mystery, wit, and suspense. Set in the 19th century, the film follows the legendary detective Sherlock Holmes (played by Robert Downey Jr. ) and his steadfast partner Dr. John Watson (Jude Law) as they embark on a thrilling adventure to unveil the identity of a cunning nemesis who threatens the peace of all England. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 13. Sherlock Holmes: A Game of Shadows (2011) Delve into the thrilling world of action, adventure, and mystery in the 2011 film, Sherlock Holmes: A Game of Shadows. Set in Europe, the movie follows the relentless pursuit of criminal mastermind Professor Moriarty, who is orchestrating a series of random and daring heists across the continent. Enter the iconic duo of Sherlock Holmes, the brilliant detective played by Robert Downey Jr. , and his loyal companion Dr. John Watson (Jude Law). Together, they engage in a high-stakes game of cat and mouse with Moriarty, all while dealing with a gypsy woman (Noomi Rapace) who plays a pivotal role in their investigation. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 14. Perdedores Natos (2013) Perdedores Natos, “ a crime-filled comedy film set in Spain, tells the story of Juan, an unlucky loser with no job and no money. His life takes a thrilling twist when he comes across an old friend, Antonio, who has become a drug dealer. Finding himself in a dangerous mess, Juan tries to help Antonio by participating in a fraudulent scheme to steal a valuable suitcase. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 15. The Man from U.N.C.L.E. (2015) The Man from U. N. C. L. E. “ is a thrilling and humorous spy action-adventure film set in the early 1960s, based on the popular television series of the same name. Directed by Guy Ritchie, the movie stars Henry Cavill as Napoleon Solo, a CIA agent, and Armie Hammer as Illya Kuryakin, a KGB operative. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 16. The Guv’nor (2016) The Guv’nor” (2016) is a captivating documentary that delves into the life of Boxing Champion, Lenny McLean, through the eyes of his only son, Jamie. This one-hour-and-twenty-five-minute feature focuses on the complex relationship between Lenny, an East End London native, and his stepson, exploring their shared experiences and the consequences of violence. Navigating themes such as physical abuse and the world of professional boxing, the documentary offers an intimate look into the lives of a father and son. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 17. King Arthur: Legend of the Sword (2017) King Arthur: Legend of the Sword” is an enthralling cinematic adventure set in the backdrop of historical fiction. The film introduces us to Arthur, a young and impoverished man who has lived a life of hardships. His life takes an unexpected turn when he reluctantly pulls the mythical sword, Excalibur, from the stone, and in doing so, he acknowledges his true lineage as the rightful heir to the legendary knights of the round table. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 18. Aladdin (2019) Embark on a magical journey with Aladdin, a classic tale of friendship, love, and ambition, as it comes to life in a vibrant and enchanting animation-live-action hybrid. Follow our hero, Aladdin, a kind-hearted street urchin, as he discovers a hidden world of wonders and fantastical creatures, including a mischievous tiger and a loyal parrot. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 19. The Gentlemen (2019) The Gentlemen” is a riveting action-crime movie directed by Guy Ritchie, featuring a star-studded cast including Matthew McConaughey, Charlie Hunnam, and Michelle Dockery. Set in the bustling city of London, an American expat, played by McConaughey, seeks to sell his highly lucrative marijuana empire, sparking a frenzy of plots, schemes, bribery, and blackmail as competitors vie to take over his profitable domain. The film showcases Ritchie’s signature gritty style, expertly blending fast-paced action with intricate storytelling. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 20. Operation Fortune: Ruse de Guerre (2023) Operation Fortune: Ruse de Guerre is a thrilling 2023 action-comedy-thriller film directed by Guy Ritchie, featuring a star-studded cast including Jason Statham, Aubrey Plaza, and Cary Elwes. In this adrenaline-filled adventure, special agent Orson Fortune enlists the help of a renowned Hollywood star to outsmart dangerous terrorists who are on the verge of selling a deadly new weapons technology that could disrupt global security. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art 21. The Covenant (2023) The Covenant” is a thrilling, action-packed film set during the war in Afghanistan, where a local interpreter goes to extremes to save a wounded US soldier. Directed by the talented Guy Ritchie and boasting an impressive cast, including Jake Gyllenhaal and Dar Salim, this gripping movie takes viewers deep into a world of peril, courage, and loyalty. 📺 Watch now free with Prime 🖼️ Check out these cool movie posters & art
28270	yago	0	12	https://www.filmreviewcentral.com/the-hire/	en	The Hire: A Series of Eight Short Films – Film Review Central	http://www.filmreviewcentral.com/wp-content/uploads/2019/02/The-Hire-4.jpg		[ "http://www.filmreviewcentral.com/wp-content/uploads/2019/02/The-Hire-4.jpg", "http://www.filmreviewcentral.com/wp-content/uploads/2019/02/The-Hire-1.jpg", "http://www.filmreviewcentral.com/wp-content/uploads/2019/02/The-Hire-3.jpg" ]	[]	[]	[ "" ]	null	[]	null		en			https://www.filmreviewcentral.com/the-hire/	The Hire: A Series of Eight Short Films The BMW AG company got the audacious idea in the early aughts to make a series of short films, promoting their various cars, for the internet. These films, all starring Clive Owen as “The Driver”, utilized prominent film directors and actors, no expense spared. There’s a surprising range of talent involved in The Hire and the amount of entertainment they provide makes them more than just an experiment in branding. Clive Owen, who’d been made famous by his lead in Croupier (1998), was about to ride a wave of superior films (though his trajectory has fallen in the teens) and credibly played his role with droll coolness. “Ambush” starts off the series directed by a logical choice, John Frankenheimer, who’d previously directed amazing car footage in Grand Prix (1966) and Ronin (1998). Made shortly before Frankenheimer’s death, “Ambush” has The Driver helping a passenger who claims he’s swallowed some sought-after diamonds escape a following van of armed and shooting thugs. The choreography of the warring vehicles is astounding and the passenger is played by Tomas Milian, a character actor who’s worked in the business so long that he once collaborated with Jean Cocteau. “Chosen”, with The Driver delivering a holy Asian boy from dockside to a monk’s abode, is slight, but ends with a fun in-joke by the director, Ang Lee and the ill-fated Marvel superhero movie he directed. The boy is played by Ang Lee’s son, Mason. “Chosen” also features a crackerjack dockside chase scene incorporating shipping crates stacked into a maze-like labyrinth. “The Follow”, directed by Wong Kar-wai, is more introspective and moody. A manager played by Forest Whitaker convinces The Driver to be hired by an abusive husband and actor (Mickey Rourke) to follow his wife (Brazilian model and actress Adriana Lima). The Driver does, and eventually quits the assignment out of moral duty. “Star” is the least of this set, not surprising as it’s directed by the mediocre Guy Ritchie. The Driver’s assigned to give a rough, lesson enducing ride to a spoiled star, played by Madonna. It’s a one-note deal. “Powder Keg” is helmed by Alejandro González Iñárritu (Birdman, 2014 and The Revenant, 2015), a stark tale of The Driver rescuing a wounded war photographer (Stellan Skarsgård) from a hostile military. He eventually makes his way to the home of the photographer’s mother (Lois Smith). The documentary-like cinematography pulls you in, looking more like a feature film than a throwaway short. “Hostage” is also filmed with a heightened style, par for the course for John Woo. The Driver’s search for a hostage victim may be the most suspenseful short of the lot, with a seedy villain (Maury Chaykin, of the Nero Wolfe Mystery series) and a countdown to death. Also revving up the suspense is the all-star “Ticker”, with The Driver trying to deliver a wounded man carrying a mysterious suitcase (Don Cheadle) while avoiding an attacking helicopter. Joe Carnahan (The Blacklist) writes, directs and uses cameos by Ray Liotta, F. Murray Abraham, Robert Patrick and Dennis Haysbert (the latter two were both to star later in David Mamet’s The Unit). The smile inducing “Beat the Devil” finishes off the series with a flourish. The Driver picks up James Brown, on his way to renegotiate a deal with the Devil (played with relish by Gary Oldman). A new wager is proposed, which of course depends on a drag race: The Driver’s BMW Z4 3.0i vs. Satan’s Pontiac Firebird. Tony Scott directs. Danny Trejo (Machete)’s the Devil’s assistant. Marilyn Manson has a funny cameo. The Hire series eventually became too expensive to continue, even though BMW sales rose 12% after the debut of the series. The series could have been a wreck, but top talent with relative freedom made it a thrill ride.
28270	yago	3	10	https://www.radiotimes.com/movies/jesse-stone-movies-order/	en	How to watch Jesse Stone movies in order: chronological and release date	https://images.immediate…esize=1200%2C630	https://images.immediate…esize=1200%2C630	[ "https://images.immediate.co.uk/production/volatile/sites/3/2021/07/cropped-cropped-cropped-radiotimescom-logo2-2c180e8-63292d2-8ec420d-7a7587d.png?quality=90&resize=120,23", "https://images.immediate.co.uk/production/volatile/sites/3/2021/07/cropped-cropped-cropped-radiotimescom-logo2-2c180e8-63292d2-8ec420d-7a7587d.png?quality=90&resize=265,50", "https://images.immediate.co.uk/production/volatile/sites/3/2022/09/jesse-stone-7b4af6b.jpg?quality=90&resize=980,654", "https://images.immediate.co.uk/production/volatile/sites/3/2024/08/Untitled-design-36-f153341.png?quality=90&resize=93,84", "https://images.immediate.co.uk/production/volatile/sites/3/2024/08/RT-Shop-Products-301-x-198-px-1-e03ec24.png?quality=90&resize=93,84", "https://images.immediate.co.uk/production/volatile/sites/3/2024/08/Couple-on-a-boat-290-GettyImages-120521792-1-4995f84.jpg?quality=90&resize=93,84", "https://images.immediate.co.uk/production/volatile/sites/3/2023/07/cropped-RadioTimes01-01-1-b003bef-d698844.png?quality=90&resize=220,30", "https://images.immediate.co.uk/production/volatile/sites/3/2024/03/ImmediateLogoRGBWhite-30678ec.png?quality=90&resize=3873,767", "https://images.immediate.co.uk/production/volatile/sites/3/2019/12/ipso-sq-7800070.png?quality=90&resize=80,80" ]	[]	[]	[ "" ]	null	[ "Katie Rosseinsky", "Cole Luke" ]	2023-09-14T12:46:51+01:00	Meet troubled Massachusetts detective Jesse Stone and get to know how to watch Tom Selleck's murder mystery films in release date and chronological order.	en		Radio Times	https://www.radiotimes.com/movies/jesse-stone-movies-order/	Turning up to interview for top cop drunk, he is hired by the corrupt president of Paradise’s board of selectmen as they believe he will be easily manipulated into doing their bidding and turning a blind eye. Stone smells what’s going on in the deceptively quaint town that is rife with organised criminal syndicates and murder and the films depict his struggles with crime and his own personal demons. Starting with Stone Cold on CBS in 2005, Selleck reprised the role another eight times till 2015s Lost in Paradise. Fans are keen to see more of Stone and Selleck has confirmed they are working on a script for a tenth film but until then, read on to find out how to immerse yourself in the world of Jesse Stone. More like this How to watch Jesse Stone movies in chronological order If you want to immerse yourself in the world of Paradise, the series chronology is relatively simple: you just have to remember that the first movie to be released, Stone Cold, should be watched as the second Jesse Stone story in Parker’s series. Meanwhile, the second movie Night Passage, which was released a year later in 2006, should be watched first, as it introduces us to Stone’s LA backstory. Got it? From then on, the movies follow a straightforward chronological order. Here's a quick look at the Jesse Stone films in chronological order. Jesse Stone: Night Passage (2006) Jesse Stone: Stone Cold (2005) Jesse Stone: Death in Paradise (2006) Jesse Stone: Sea Change (2007) Jesse Stone: Thin Ice (2009) Jesse Stone: No Remorse (2010) Jesse Stone: Innocents Lost (2011) Jesse Stone: Benefit of the Doubt (2012) Jesse Stone: Lost in Paradise (2015) Below we have more detailed entries for each movie in the series. Jesse Stone: Night Passage (2006) Based on the first novel in Parker’s series, Night Passage sees Stone make the journey from Los Angeles (after being forced to resign from his role as a homicide detective for drinking while on duty) to Paradise, a small town on the Massachusetts coast. He is soon hired as Paradise’s chief of police, as the sleazy council leader, noting Stone’s drinking problem, reckons he will be a soft touch and turn a blind eye to his money laundering schemes. He’s wrong, however. When the body of the previous police chief, who was forced out of the role after learning about the scheme, is found, Stone sets out to prove that his death was not an accident, and becomes embroiled in the murky world of the local gangsters who have some unsavoury links to the Boston mob. Viola Davis stars alongside Sellick as his police colleague Officer Molly Crane (she also appears in Stone Cold, Death in Paradise and Sea Change). Rent or buy Jesse Stone: Night Passage on Amazon Prime Video Jesse Stone: Stone Cold (2005) The sleepy town of Paradise is left reeling after a body is discovered on the shoreline, shot twice in the heart with a .22 calibre pistol. Not long after, two more victims are discovered, each killed by the same method. Stone, who is also investigating the rape of a teenage girl, starts to piece together a potential suspect profile by cross-referencing the gun register against the registration of a red truck that was spotted fleeing the crime scene. Soon, he has discovered not one but two potential killers acting as a pair - but without concrete evidence or a clear motive, he must wait to engineer a scenario that will prove their guilt. It’s a high stakes plan, and one that will eventually come at a high personal cost to Stone. Rent or buy Jesse Stone: Stone Cold on Amazon Prime Video Jesse Stone: Death in Paradise (2006) Stone’s next case sees him investigating the death of a teenage girl whose body is discovered floating in a lake. An autopsy reveals that she was pregnant, and that alcohol and muscle relaxer were in her bloodstream at the time of death. An initialed ring found on the body provides the first clue, eventually leading Stone and his colleague Luther Simpson (Kohl Sudduth) to discover that the victim is Billie Bishop, a high school student who was thrown out of her family home after her behaviour changed and her grades dropped. Further investigation reveals that Billie was in the orbit of wealthy local novelist Norman Shaw, a man with rumoured connections to the criminal underworld, who has been working on a book about Boston gangster Leo Finn. The case will once again take Stone into dangerous territory. Rent or buy Jesse Stone: Death in Paradise on Amazon Prime Video Jesse Stone: Sea Change (2007) After admitting to his psychologist that he drinks more heavily when he doesn’t have a case to work on, Stone tells his new colleague Rose Gammon (Kathy Baker) to find the list of local unsolved cases. (Gammon has replaced Davis’s Officer Crane, who has resigned from the force since the events of Death in Paradise.) He then decides to reopen the investigation into the 1992 death of a bank teller who was taken hostage during a robbery. When they visit the site where the body was found, they discover what appear to be the gunman’s clothes covered in marks consistent with a gunshot wound - a clue which proves this case is much more complex than the police had previously assumed. Rent or buy Stone: Sea Change on Amazon Prime Video Jesse Stone: Thin Ice (2009) As Thin Ice opens, Stone comes to the aid of his colleague, State Police Captain Healy (Stephen McHattie), who is attacked while keeping tabs on his nephew who he believes is in a relationship with his saxophone teacher. Stone starts to investigate the shooting, a move which doesn’t go down too well with the local council, who are wondering why he spends most of his time getting caught up in shoot-outs rather than sorting out lucrative parking tickets and speeding fines. While he ploughs on with the case in spite of their wishes, Stone is contacted by a woman who wants him to look into the disappearance of her baby seven years ago. Although a body with a name tag was found at the time, she was never convinced it was her child - and later received an anonymous note claiming "your child is loved". Though he is sympathetic to her plight, Stone decides not pursue it, thinking that opening another cold case will only rile up the council even more. Gammon, however, is determined to investigate. Rent or buy Jesse Stone: Thin Ice on Amazon Prime Video Jesse Stone: No Remorse (2010) Suspended from his position as Paradise’s chief of police, Stone has been banned from contacting his colleagues, and is drinking heavily, much to the concern of Gammon and Healy. After a spate of murders in a parking lot, Stone is hired as a private consultant to Boston police, who are investigating the killings. The first victim, he soon learns, had ties to Gino Fish, a figure in the Boston mob who has cropped up in previous investigations. When he’s not on the case up in Boston, Stone also looks into a series of attacks at a local convenience store. Rent or buy Jesse Stone: No Remorse on Amazon Prime Video Jesse Stone: Innocents Lost (2011) This time around, Stone has been pushed out of his job, replaced by the town council president’s son-in-law who is more concerned with Paradise’s public image than with fighting crime. Naturally, Stone is convinced that he will be reinstated one day, and is less than impressed when Butler, the new chief, tries to get him to give up his "concealed weapon" gun permit. Even without an official police role, Stone still manages to find himself caught up in a pair of murder investigations. One involves the death of friend, which the new police chief has ruled as a suicide rather than looking into the case further, while another sees him once again team up with old pal Healy as a consultant for the Massachusetts State Police on a murder and robbery, where Healy has doubts over the main suspect’s guilt. Rent or buy Jesse Stone: Innocents Lost on Amazon Prime Video Jesse Stone: Benefit of the Doubt (2012) Butler and one of his officers are killed in a suspicious police car explosion, and Stone is temporarily reinstated as the police chief by the town president, Carter Hansen. He soon notes that Hansen’s predecessor Hathaway, who has cropped up in a handful of previous stories, seemed to know about the death before Hansen was officially notified. A note in Butler’s calendar seems to imply that he was caught up in police corruption, and Stone’s investigation will once again draw him into the web of local gangsters and their organised crime rings. He’ll have to carry it out alone, though, as his old associates Gammon and Simpson have left the force after struggling to work with Stone’s replacement. Rent or buy Jesse Stone: Benefit of the Doubt on Amazon Prime Video Jesse Stone: Lost in Paradise (2015) By now, Stone is back in the job of police chief, yet he again agrees to help out the Massachusetts State Police as a consultant, feeling bored by the dearth of significant cases in Paradise lately. He’s given access to case files on several murders in the Boston area, including one involving a woman named Mavis Davies, the fourth victim of a serial killer known as the Boston Ripper. When Stone visits the murderer in jail, he proudly admits to the first three killings - but insists that he did not commit the fourth. Stone believes that he’s telling the truth, but has trouble convincing both Davies’s widower and Detective Leary, the officer who caught the Ripper, that the case might be much more complicated than they first thought. Advice from his psychologist Dr Dix (who just so happens to be an ex-cop) helps put him on the right track, though, and while he’s looking into the cold case, Stone also befriends a troubled 13-year-old who is being mistreated by her mother. Rent or buy Jesse Stone: Lost in Paradise on Amazon Prime Video How to watch Jesse Stone movies in release order As we said earlier, the only difference for watching it in release order is watching Stone Cold first followed by Night Passage with the rest of the order being the same. But, for completion's sake, we have listed it just below too. Jesse Stone: Stone Cold (2005) Jesse Stone: Night Passage (2006) Jesse Stone: Death in Paradise (2006) Jesse Stone: Sea Change (2007) Jesse Stone: Thin Ice (2009) Jesse Stone: No Remorse (2010) Jesse Stone: Innocents Lost (2011) Jesse Stone: Benefit of the Doubt (2012) Jesse Stone: Lost in Paradise (2015) Where to watch Jesse Stone movies The Jesse Stone films have aired on CBS and on the Hallmark Channel over in the US, but unfortunately, fans on this side of the Atlantic can only rent or buy all nine movies on Amazon Prime Video as there are no streaming options available at this time. If physical media is your preference, there is also the DVD boxset available from Amazon. Alternatively, for the home theatre connoisseurs, the Blu-Ray set can also be purchased from Amazon and while it is predictably quite a bit more expensive, it is by far the best way to enjoy the Jesse Stone in the highest fidelity. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on.
28270	yago	0	3	https://www.imdb.com/title/tt12958702/	en	The Hire (Short 2003)	https://m.media-amazon.c…Mjpg_UX1000_.jpg	https://m.media-amazon.c…Mjpg_UX1000_.jpg	[ "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:130-2172224-7627806:XPSMS88A5MT5D996T0XW$uedata=s:%2Fuedata%2Fuedata%3Fstaticb%26id%3DXPSMS88A5MT5D996T0XW:0", "https://m.media-amazon.com/images/M/MV5BMDZhZjExNTMtZjg4NS00ZjQxLThlZDktOWY5MDhkYzlhNmMyXkEyXkFqcGdeQXVyNTMyODM3MTg@._V1_QL75_UX190_CR0,2,190,281_.jpg", "https://m.media-amazon.com/images/M/MV5BMjA4MzAyOTc5Ml5BMl5BanBnXkFtZTcwOTQ5NzEzMg@@._V1_QL75_UX140_CR0,0,140,140_.jpg", "https://m.media-amazon.com/images/M/MV5BZWY3NDQzOGQtNjk5My00YmUxLTk2ZjAtMTA5MmQ3NTEzZjQ1XkEyXkFqcGdeQXVyMTA0MTM5NjI2._V1_QL75_UX140_CR0,1,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BYzFjOTYxNjUtNmY2Ny00ODQzLThhNjgtM2ZiZjhhOGIwYjY0XkEyXkFqcGdeQXVyMTA0MTM5NjI2._V1_QL75_UX140_CR0,1,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BZmJlOGJmM2UtNTNlNC00NTFmLWEzODMtOWIzN2Q0NmExYzkzXkEyXkFqcGdeQXVyMTA0MTM5NjI2._V1_QL75_UX140_CR0,1,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BNjQyNzY1ZjgtYWM4Ny00ZTEyLTg2ODItYzg2ZjNhMDI5NTkzXkEyXkFqcGdeQXVyMTA0MTM5NjI2._V1_QL75_UX140_CR0,1,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BYjc3MmJlZWItYTk0Ny00MmJkLTgwYWItMWQ1N2NjYTkyZmY5XkEyXkFqcGdeQXVyMTA0MTM5NjI2._V1_QL75_UX140_CR0,1,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BNjAzNDQwYzEtOThhYi00NDg0LTg5MTItYTQ5ODJlYTM2NTE5XkEyXkFqcGdeQXVyMTA0MTM5NjI2._V1_QL75_UX140_CR0,1,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BMjkxNDhmZmEtNmQ4Ni00YTM1LWJhNWMtMjU5NTQ1OTlmMWI5XkEyXkFqcGdeQXVyMTA0MTM5NjI2._V1_QL75_UX140_CR0,1,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BMjcxNDc2N2MtYzRjZi00OTE0LWJkYTMtOWE1Y2QxYjNmYTA5XkEyXkFqcGdeQXVyMTA0MTM5NjI2._V1_QL75_UX140_CR0,1,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BZDJmODAzNGUtNmI0NC00YThhLThkMjEtYzNlYWQwOTdjNzI1XkEyXkFqcGdeQXVyMTA0MTM5NjI2._V1_QL75_UX140_CR0,1,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BMTQ1OTA3MjM4MF5BMl5BanBnXkFtZTYwMTMxODc4._V1_QL75_UX140_CR0,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BZjI3ZjkxNzItNTNjYS00OTI4LWFlYmItZjM5ZGUwZGUzMmVjXkEyXkFqcGdeQXVyMTMxMTY0OTQ@._V1_QL75_UY207_CR0,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BNjdkNjZhYzEtMjRmMS00ODY3LWFjNWYtYWFmM2IzMmUyOThjXkEyXkFqcGdeQXVyMjI3MDczMjI@._V1_QL75_UY207_CR14,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BMDZhZjExNTMtZjg4NS00ZjQxLThlZDktOWY5MDhkYzlhNmMyXkEyXkFqcGdeQXVyNTMyODM3MTg@._V1_QL75_UX90_CR0,1,90,133_.jpg", "https://m.media-amazon.com/images/G/01/IMDb/Mobile/DesktopQRCode-png.png", "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:130-2172224-7627806:XPSMS88A5MT5D996T0XW$uedata=s:%2Fuedata%2Fuedata%3Fnoscript%26id%3DXPSMS88A5MT5D996T0XW:0" ]	[]	[]	[ "Reviews", "Showtimes", "DVDs", "Photos", "User Ratings", "Synopsis", "Trailers", "Credits" ]	null	[]	null	The Hire: Directed by Joe Carnahan, John Frankenheimer, Alejandro G. Iñárritu, Ang Lee, Guy Ritchie, Tony Scott, Kar-Wai Wong, John Woo. With Clive Owen. Recompilation of the all short films of from the series of short films produced by BMW The Hire, starring Clive Owen as the Driver.	en	https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/title/tt12958702/	Recompilation of the all short films of from the series of short films produced by BMW The Hire, starring Clive Owen as the Driver.Recompilation of the all short films of from the series of short films produced by BMW The Hire, starring Clive Owen as the Driver.Recompilation of the all short films of from the series of short films produced by BMW The Hire, starring Clive Owen as the Driver.
28270	yago	2	89	https://geektyrant.com/news/trailer-for-guy-ritchies-crime-series-the-gentlemen-coming-to-netflix	en	Trailer for Guy Ritchie's Crime Series THE GENTLEMEN Coming to Netflix — GeekTyrant	http://static1.squarespace.com/static/51b3dc8ee4b051b96ceb10de/51ce6099e4b0d911b4489b79/65a58c1ef4576c6533914b85/1705417354366/Screenshot+2024-01-15+at+12.01.34%E2%80%AFPM.jpg?format=1500w	http://static1.squarespace.com/static/51b3dc8ee4b051b96ceb10de/51ce6099e4b0d911b4489b79/65a58c1ef4576c6533914b85/1705417354366/Screenshot+2024-01-15+at+12.01.34%E2%80%AFPM.jpg?format=1500w	[ "https://geektyrant.com/news/first-trailer-for-lucasfilms-star-wars-skeleton-crew-series?format=300w", "https://images.squarespace-cdn.com/content/v1/51b3dc8ee4b051b96ceb10de/c08b63cf-1a40-45c2-bcef-593971af744d/Screenshot+2024-01-15+at+12.01.34%E2%80%AFPM.jpg", "https://geektyrant.com/news/robert-downey-jr-confirmed-to-play-doctor-doom-in-avengers-doomsday-and-avengers-secret-wars?format=300w", "https://geektyrant.com/news/new-trailer-for-francis-ford-coppolas-megalopolis?format=300w", "https://geektyrant.com/news/new-trailer-for-indiana-jones-and-the-great-circle-and-release-date-revealed?format=300w", "https://geektyrant.com/news/trailer-for-netflixs-korean-suspense-thriller-the-frog?format=300w", "https://geektyrant.com/news/teaser-trailer-for-prime-videos-adult-themed-animated-anthology-series-secret-level?format=300w", "https://geektyrant.com/news/two-amusing-new-clips-from-tim-burtons-beetlejuice-beetlejuice?format=300w", "https://geektyrant.com/news/teaser-trailer-for-ryan-murphys-monsters-the-lyle-and-erik-menendez-story?format=300w", "https://geektyrant.com/news/first-look-at-the-film-new-adaptation-of-stephen-kings-salems-lot?format=300w", "https://geektyrant.com/news/trailers-for-the-double-features-action-films-lady-scorpions-and-kung-fu-games?format=300w", "https://geektyrant.com/news/fun-trailer-for-the-disaster-teen-comedy-film-y2k-from-comedian-kyle-mooney?format=300w", "https://geektyrant.com/news/fun-deleted-scene-titled-puberty-park-from-inside-out-2-with-intro-by-director-kelsey-mann?format=300w", "https://geektyrant.com/news/new-trailer-for-jeff-goldblums-wild-greek-gods-series-kaos?format=300w", "https://geektyrant.com/news/crazy-blood-and-gore-filled-trailer-for-the-horror-movie-pater-noster-and-the-mission-of-light?format=300w", "https://geektyrant.com/news/poster-art-for-bambi-the-reckoning-its-haunting-season?format=300w", "https://geektyrant.com/news/cool-new-trailer-for-hayley-atwells-tomb-raider-the-legend-of-lara-croft-animated-series?format=300w", "https://geektyrant.com/news/trailer-for-samara-weavings-horror-survival-thriller-azrael?format=300w", "https://geektyrant.com/news/trailer-for-michael-keaton-and-mila-kunis-parenting-comedy-goodrich?format=300w", "https://geektyrant.com/news/first-clip-for-the-lord-of-the-rings-the-rings-of-power-season-2?format=300w" ]	[]	[]	[ "" ]	null	[ "Joey Paur" ]	2024-01-16T07:02:00-08:00	Netflix has released the first trailer for Guy Ritchie ’s upcoming Netflix crime series, The Gentlemen . The series is based on Ritchie’s entertaining 2019 film of the same name, and he created and executive-produced the series. He also directed the first two episodes and co-wrote the series	en	https://static1.squaresp…-icon-iphone.png	GeekTyrant	https://geektyrant.com/news/trailer-for-guy-ritchies-crime-series-the-gentlemen-coming-to-netflix	Netflix has released the first trailer for Guy Ritchie’s upcoming Netflix crime series, The Gentlemen. The series is based on Ritchie’s entertaining 2019 film of the same name, and he created and executive-produced the series. He also directed the first two episodes and co-wrote the series with Matthew Read. If you enjoyed the movie, chances are you’ll enjoy what this series has to offer. The show follows Eddie Horniman (Theo James), who unexpectedly inherits his father’s luxurious country estate - only to discover it’s part of a massive cannabis empire. Unfortunately for Eddie, a group of rather unsavory characters from Britain’s criminal underworld want a piece of the operation. Per the official synopsis, "Eddie tries to play the gangsters at their own game. However, as he gets sucked into the world of criminality, he begins to find a taste for it." Ritchie previously said in a statement: "The world of The Gentlemen is a little bit of me. We're looking forward to bringing fans back into that world, introducing new characters and their stories, and I am excited to be doing it with this extremely talented cast." The cast includes Kaya Scodelario (Crawl, The Pale Horse), Daniel Ings (I Hate Suzie), Joely Richardson (Lady Chatterley’s Lover), Lock, Stock and Two Smoking Barrels actor Vinnie Jones, Giancarlo Esposito (Breaking Bad, Better Call Saul), Chanel Cresswell (This is England), Michael Vu, Max Beesley (Hijack), Jasmine Blackborow (Marie Antoinette), Harry Goodwins (In His Hands: The Emergence), Dar Salim (The Covenant), Pearce Quigley (Detectorists), Ruby Sear, and Peter Serafinowicz (The Tick). Watch the trailer below, and get ready to watch The Gentlemen the series in 2024.
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"//ws-na.amazon-adsystem.com/widgets/q?ServiceVersion=20070822&OneJS=1&Operation=GetAdHtml&MarketPlace=US&source=ss&ref=as_ss_li_til&ad_type=product_link&tracking_id=outver-20&language=en_US&marketplace=amazon&region=US&placement=B000K4WPCM&asins=B000K4WPCM&linkId=74d8771c822bc7d95fe2e66405ac4ca3&show_border=true&link_opens_in_new_window=true" ]	[]	[ "" ]	null	[ "VERN" ]	2023-09-19T00:00:00	GUY RITCHIE’S THE COVENANT really is the official title of Mr. Ritchie’s 2023 Afghanistan War action drama. You know - in the tradition of LEE DANIELS’ THE	en	https://outlawvern.com/wp-content/themes/vern2012u/favicon.ico?v=2022	VERN\'S REVIEWS on the FILMS of CINEMA	https://outlawvern.com/2023/09/19/guy-ritchies-the-covenant/	GUY RITCHIE’S THE COVENANT really is the official title of Mr. Ritchie’s 2023 Afghanistan War action drama. You know – in the tradition of LEE DANIELS’ THE BUTLER. The backstory is they were gonna be straight forward and call it THE INTERPRETER, but then they decided to get a little pompous and change it to THE COVENANT, but that meant they had to add the GUY RITCHIE’S to distinguish it from Renny Harlin’s warlock movie THE COVENANT. That’s okay, this is one he can be proud to put his name on. It’s a good one. Let me tell you this. A few years ago I hit my breaking point with War On Terror films. I felt like even when they weren’t pro-war or militarism propaganda they were still perpetuating our complacency on this unending war. Then we finally pulled out of Afghanistan, so that sort of changed the ethics of using it in action movies, but I still wasn’t anxious to revisit the topic. When I started seeing trailers for these new Jake Gyllenhaal and Gerard Butler movies where they’re a soldier trying to get their interpreter to safety I thought “oh jesus, this how they’re gonna keep milking this thing?” So I’m thankful to the Action For Everyone podcast and others that have kept praising THE COVENANT and KANDAHAR and explaining why they’re more interesting than I assumed. I don’t know about that second one, but I’m glad I didn’t go with my initial plan to skip THE COVENANT. I almost didn’t want to put the poster on this review. It’s not ugly but, you know, it’s just two guys in helmets and desert camo, one with a big ass gun. I don’t know about you, but I see that and I picture the same exact sun-drenched, handheld, tactical military slog we’ve been getting dumped on us for years now. The lingo and the brotherhood and the heroic sacrifice. The water bottles, the sniper scopes, the checkpoints, the nervously looking at locals wondering if they’re suicide bombers (the first one isn’t, but the next one is), the uncomfortable raiding of innocent family’s homes, the little touches the better ones throw in to kind of shade it so you know War Is Hell and innocent people are caught in the crossfire, but still ultimately Our Boys are heroes and that’s all that matters, right? I’m so impressed that THE COVENANT really isn’t one of those. It covers some of those things, but it really does do it from a different perspective. It also has an interesting structure to it, a couple different sections, keeping it varied and interesting for just over two hours that honestly feel shorter. (I’m gonna spoil what the different sections are below, so read with caution or just go watch it first.) It’s not about the end of the war – it’s set in 2018. Jake Gyllenhaal (CITY SLICKERS) plays U.S. Army Special Forces Master Sergeant John Kinley. He seems like kind of an asshole. His unit’s interpreter gets killed by a Taliban truck bomb, so he goes to get a new one. He’s told Ahmed (Dar Salim, THE DEVIL’S DOUBLE, BLACK CRAB) is hard to work with, but good. Ahmed says he’s been doing this for five years. Asked if he likes it, he says, “It’s a job.” Only later will Kinley learn that in fact he fights the Taliban for reasons of personal vengeance, and at great risk to himself and his family. You might assume this is a Gylenhaal vehicle where he has this Afghan sidekick who shows that they’re not all bad. But that’s really not what it is. Salim kinda reminds me of Temuera Morrison – he just has a powerful badass presence, outshines everyone around him, steals scenes even with few or no word. Ahmed is in a difficult position, seen as a sellout to some of the locals, generally understanding the situations way better than the Americans, having to go along with what they want but trying to be a voice of reason. For example they raid an opium den on bad info that they’re hiding Taliban weapons. He tells Kinley all the reasons that doesn’t make sense while telling the proprietor stay calm, I know you’re telling the truth, we just have to convince these guys of that. Kinley is smart enough to notice how good Ahmed is and pay attention to what he says. On another day, everyone’s furious with Ahmed for stopping their convoy on a hunch that they were lied to about which route to take, but of course he’s right and saves them all from an ambush. When Kinley starts to do a little rule bending to get what he considers better intel they locate a major weapons cache, but the insurgents outnumber them, things go south, and only Kinley and Ahmed escape. On foot. In the middle of nowhere. Ah ha, so that’s what this is about. The two men working together to survive, making the long, dangerous journey back to Bagram Air Base. They trek through the mountains, find places to camp out, hide from the people they come across, fall down a big hill, lose a gun, sneak up on some guys and steal a new gun. There are insurgents searching the area for them, but thankfully most of the locals they run into hate the Taliban, and won’t give them up. A real shift in the action happens when they get ambushed, Kinley gets shot and then knocked unconscious with a rifle butt. Oh, so now it’s about them being separated. No, not for long! Ahmed shows up, goes John Rambo on ‘em, rescues the Master Sergeant, but he’s badly wounded. So now the movie becomes about Ahmed having to keep him alive for several days, and get him home. Most of the trip is made pushing him on a wooden cart. The montages make Ahmed seem like a mythical hero of Conan the Barbarian proportions. It’s so triumphant when he gets there and then so deflating that instead of celebrating he has to surrender to American soldiers. Okay, but there’s still a bunch of movie left. It changes up again. Kinley gets sent home to Santa Clarita, he heals up, he returns to civilian life. He owns an auto repair shop, and he does feel pretty useless since his wife Caroline (Emily Beecham, 28 WEEKS LATER) is used to running it all herself. But it’s not about him having PTSD or feeling out of place and wanting to go back to war or any of those things. The trouble comes when his friend Sergeant Declan O’Brady (Alexander Ludwig, MXP: MOST XTREME PRIMATE) visits and tells him what became of Ahmed. Kinley doesn’t remember what happened before he woke up in the hospital, he just knows Ahmed got him back to Bagram, and now he learns that Ahmed and his family never got the visas they were promised. Worse, his incredibly badass feat of carrying Kinley to safety on a wooden cart made him a local legend, and therefore a prime Taliban target, so he had to go into hiding. Kinley can’t live with himself if he lets this stand. He spends many hours and days waiting on hold to talk to (and yell at) many workers in many army offices. He gets crazy about it. He gets people very annoyed with him. He finally gets a promise of visas through an old colleague, Colonel Vokes (Jonny Lee Miller, HACKERS), but he has no idea how to find Ahmed to get them to him. So the final section of the movie is when Kinley gets the ol’ UNCOMMON VALOR spirit, decides to go back to Afghanistan as a private citizen, and since the private military contractor he hires (Antony Starr, Banshee) turns out to be busy for several days he has to do it himself. Most of it is very classically photographed, very controlled, but Ritchie knows when to throw in some splashes of style. There’s a great montage that happens during the Santa Clarita section when Kinley is making all the phone calls. He ends up laying on the floor, and this finally triggers his buried memories of what happened after he got shot. We speed through the whole journey on the wooden cart, including some scenes we saw before, and some we didn’t, all from either his perspective or from next to his head, laying in the cart. The cinematographer is Ed Wild (SEVERANCE, LONDON HAS FALLEN), the editor is James Herbert (BLACK BOOK, EDGE OF TOMORROW, several Ritchie films), and they do an outstanding job of making this stand out from all the other Afghanistan War movies. It has its own look and feel. It’s top shelf work from Ritchie and all his collaborators, but the MVP is definitely Salim, an Iraqi-born Danish actor I’ve seen in a few things but never paid attention to before. In an American-soldier-and-his-Afghan-interpreter movie you don’t expect them to cast – or allow – the interpreter to be the badass, the scene-stealer, the one with the off-the-charts screen presence. You expect him to be the sidekick, but he’s really the lead for the first half of the movie. Then there’s the stretch without him, where Gyllenhaal gets to do the sort of theatrics he loves (flipping out while waiting on hold getting the run around and what not), but even when it’s Kinley’s story it’s the story of how he literally won’t be able to sleep unless he repays the debt he owes Ahmed for being the baddest motherfucker of all time. So somehow that last stretch doesn’t come off as “this is the story of Kinley and his incredible act of heroism” – it really is “man, we seriously fucked up, and we owe those guys!” Of course, both characters come out looking good. I hope you know I’m an aficionado of the subtle, silent nod of respect between two badasses. FURY ROAD is obviously the best movie to end with that (and the best movie in general), but this does one too, and I appreciate that. Like THE GENTLEMAN, WRATH OF MAN and OPERATION FORTUNE: RUSE DE GUERRE, this script is credited to Ritchie and Ivan Atkinson & Marn Davies. The photos of real soldiers and interpreters on the end credits seem like what you put on a movie that’s based on a true story, but they make no such claims. Obviously it is based on the truth that many interpreters risked everything to help the Americans and were not rewarded as promised. The end is really overwhelming because it’s a happy ending, it’s such a relief, and for a second I thought “Is this bullshit, to be showing us the time when they do get the visa, and everything works out fine?” But then I thought of everything they had to go through to get that happy ending, every extra length they had to go to, every favor they had to pull, every “no” they had to refuse, every rule they had to violate, every lucky break they had to catch (not to mention the $150,000 he had to pay), exactly because this was not the likely outcome, or the one supported by the system. Even before the card at the end with figures of how many interpreters were screwed over and ended up dead or in hiding, the extraordinariness of his actions means that ordinarily people get left behind. So let’s forget about the other half of the The ‘FORTUNANT’ double feature. That one was mediocre, but THE COVENANT is really something special. The Guy Ritchie roll continues.
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"https://www.digitalspy.com/_assets/design-tokens/en-gb/static/images/logos/network-logo.eae65ae.svg?primary=%2523ffffff", "https://www.digitalspy.com/_assets/design-tokens/fre/static/images/logos/ipso-regulated.9922b5a.svg?primary=%2523ffffff" ]	[]	[]	[ "" ]	null	[ "Catherine Earp", "Ian Sandwell" ]	2022-07-20T16:05:40.093341+00:00	The Russo Brothers have explained why they hired Guy Ritchie as the director for the upcoming live-action adaptation of Disney's Hercules.	en	/_assets/design-tokens/digitalspy/static/images/favicon.b8735b8.ico	Digital Spy	https://www.digitalspy.com/movies/a40665827/guy-ritchie-hercules-live-action-movie-director/	Hercules is the latest Disney film getting the live-action treatment, with Guy Ritchie at the helm to direct. Avengers: Endgame directors Anthony and Joe Russo are producing, and explained why they picked the Lock, Stock and Two Smoking Barrels director to take the chair. Talking exclusively to Digital Spy for the release of The Gray Man, Joe Russo explained: "It’s Guy Ritchie. "One of the reasons that we make movies, you know, is the real opportunity to get to work with someone that we idolise. "We’re excited about it because the vision for it is a little bit more contemporary, a little bit more modern, a little bit more fun, a little more cheeky. "We had a great script from Dave Callaham, who wrote Shang-Chi, which was, I thought, a fantastic film. We feel really good about where it's at." Hercules is currently in early production, with no castings or release date announced yet. The Russo Brothers also discussed Netflix film The Gray Man, which sees Chris Evans take on the main villain role. Discussing the departure from Evans' Captain America role in the Marvel franchise, Anthony Russo explained: "The Captain America character is a very controlled character, a very understated character. And Chris Evans does have a really vibrant personality in his natural life. In his real life, he's really funny and very smart." He added: "It was a character that was so polar opposite. I mean, that was really just the appeal of it. It was just figuring out something fresh and exciting for Chris to do. "Because he's had such success, he's really in a place – he's told us – where he just wants to take risks and challenge himself. And this was certainly a swing he's never taken before."
28270	yago	2	27	https://www.original-cin.ca/posts/2024/3/9/the-gentlemen-guy-ritchie-back-in-action-with-series-about-badass-brit-criminals	en	The Gentlemen: Guy Ritchie Back in Action with Series about Badass Brit Criminals — Original Cin	http://static1.squarespace.com/static/5909e36815d5dba8afc8fdd8/590bbded46c3c4d418c01938/65ec65d4f4dbb57352fe5e2f/1709991963898/Gentlemen_2.png?format=1500w	http://static1.squarespace.com/static/5909e36815d5dba8afc8fdd8/590bbded46c3c4d418c01938/65ec65d4f4dbb57352fe5e2f/1709991963898/Gentlemen_2.png?format=1500w	[ "https://images.squarespace-cdn.com/content/v1/5909e36815d5dba8afc8fdd8/584647f3-ebc9-4dda-b960-1797f86004f1/original-cin-logo_Transparent.png", "https://images.squarespace-cdn.com/content/v1/5909e36815d5dba8afc8fdd8/584647f3-ebc9-4dda-b960-1797f86004f1/original-cin-logo_Transparent.png", "https://images.squarespace-cdn.com/content/v1/5909e36815d5dba8afc8fdd8/2c6c8aeb-28a4-4f97-8370-1bfcc1aa1a6d/Gentlemen_1.jpg", "https://images.squarespace-cdn.com/content/v1/5909e36815d5dba8afc8fdd8/5be6c3c4-58ba-4b67-8fc5-c00ee59cc596/SC_1281x219_Chance_Encounter.jpg", "https://images.squarespace-cdn.com/content/v1/5909e36815d5dba8afc8fdd8/2ab64315-232c-4dc8-a839-6e75905af9df/Hollywood+Suite.jpg" ]	[]	[]	[ "" ]	null	[ "Jim Slotek" ]	2024-03-09T00:00:00	By Karen Gordon	en	https://images.squarespace-cdn.com/content/v1/5909e36815d5dba8afc8fdd8/1494342539486-K2JSCH7Y2PM3VLVIGLB9/favicon.ico?format=100w	Original Cin	https://www.original-cin.ca/posts/2024/3/9/the-gentlemen-guy-ritchie-back-in-action-with-series-about-badass-brit-criminals	Still, I was curious about his latest version. Led by Theo James — who was so terrific in the most recent season of The White Lotus — The Gentlemen has been repurposed by Ritchie as an eight-part Netflix series about the son and heir of a noble family trying to extricate them from a deal that with the criminal underworld. This is Ritchie’s oeuvre. He is the guy who defined the modern comic/violent British gangster genre with movies like Lock Stock and Two Smoking Barrels, Snatch, and RocknRolla, highly inventive, enjoyable movies with his singular style. Despite finding some of his more recent films disappointing (see 2017’s King Arthur: Legend of the Sword and 2019’s Aladdin), could the miniseries be a return to form? Happily, the answer is a big yes. The Gentleman is peak Ritchie. A slew of well-drawn, quirky characters, many of them criminals, some of them homicidal, and a loaded plot of uneasy alliances, perceived double-crosses, actual double-crosses, bad debts, psychopathic criminals, clumsy criminals and so on, this is entertaining, and a lot of fun. James stars as Eddie Horniman, a captain in the British army who is part of a peacekeeping mission in Turkey. He is called back to England because his father is on his deathbed, which is where we discover that Eddie is from a very wealthy noble family that owns a large and beautiful estate with the requisite collection of antiques and art. His plans to return to duty after the funeral end abruptly at the reading of the will. To the surprise of everyone, the estate has been left to Eddie and not, as is the 600-year-old family custom, to the eldest son, in this case, his older brother Freddy (an outstanding Daniel Ings). To understate it, Freddy doesn’t take it well. It turns out that he not only enjoys his cocaine but is also in serious debt to a criminal family run by Gospel John (Pearce Quigley) a preacher and drug dealer, head of his own violent gang. Freddy was counting on the money from the estate to pay off his debts and get himself out of trouble. While Eddie tries to fix the issue by considering selling the estate, he gets a visit from Susie Glass (Kaya Scodelario) who will be his guide of sorts in this regard. That starts with a major revelation: She informs him that his late father sustained the family’s wealth by leasing out part of their land to her family’s drug operation. And she takes him a hidden underground marijuana “farm” on his own property and explains things to him; namely that he and his family are under the thumb of Susie’s family. She is running the show for her father Bobby Glass (the redoubtable Ray Winstone), who is calling the shots from his jail cell. Cool, tough unflappable Susie runs the day-to-day, business and sorts out the adventures and misadventures of all the various stakeholders without blinking an eye. At the same time, Eddie has an apparent option on the table for an escape plan: a very rich, very refined American, Mr. Johnston (Giancarlo Esposito) wants to buy Eddie’s estate. Of course, he has a much bigger agenda, but he also has enough money to meet Eddie’s needs. Susie helps Eddie negotiate a deal with Gospel John to pay off Freddy’s debts. Unfortunately, that goes terribly wrong and kicks off a series of issues, problems, deals, double-crosses, and negotiating with violent criminals, family issues that will carry things through the eight episodes. The core of the series is the relationship between Eddie and Susie. Eddie is forced to depend on Susie as he tries to navigate a massive number of unpredictable, quick-to-murder criminals while keeping his eye on the prize. Susie is the experienced hand at running a drug empire, managing all the power players, mostly with the guidance of her father from his jail cell. She’s blunt with Eddie but is also managing threats against her family’s business. There is violence of course. When Ritchie’s criminals go for payback, it isn’t pretty. But a lot of that happens in the first few episodes. Once we get the sense of how far the bad guys will go — which gives us a sense of the stakes — the series focuses more on machinations and manoeuvring. As you’d expect from a Guy Ritchie production, the series is populated by characters who are big personalities, some charming and sweet, some simmering with poisonous intent. Every role here from the major to the minor is beautifully cast. Another Ritchie hallmark is the amount of dialogue. Almost every major character talks a lot, and of course, another hallmark, a lot of the speechifying is of a philosophical bent. The characters are drawn from across the range of the British class system, from nobility to travellers, commoners, and the criminals, some of whom have worked their way up to rub shoulders with the richest to those who are permanently stuck at the other end of the spectrum. The Gentlemen ends up being everything you’d want from a classic Richie gangster film. The Gentleman. Created by Guy Ritchie. Starring Theo James, Kaya Scodelario, Daniel Ings, Vinnie Jones, Ray Winstone, and Joely Richardson. Now available on Netflix.
28270	yago	2	70	https://www.pajiba.com/film_reviews/in-defense-of-guy-ritchie.php	en	In Defense of Guy Ritchie	http://www.pajiba.com/assets_c/2019/05/Guy%20Ritchie%20Getty%20Images-thumb-700xauto-211812.jpg	http://www.pajiba.com/assets_c/2019/05/Guy%20Ritchie%20Getty%20Images-thumb-700xauto-211812.jpg	[ "http://b.scorecardresearch.com/p?c1=2&c2=20407962&cv=2.0&cj=1", "https://c.statcounter.com/343740/0//1/", "https://www.pajiba.com/image/2022/hebdo.jpeg", "http://www.pajiba.com/assets_c/2019/05/Guy%20Ritchie%20Getty%20Images-thumb-700xauto-211812.jpg", "http://www.pajiba.com/assets_c/2019/05/Guy%20Ritchie%20Getty%20Images-thumb-700xauto-211812.jpg", "http://www.pajiba.com/assets_c/2019/05/Henry%20Cavill%20Man%20From%20Uncle-thumb-700x420-211810.gif", "https://www.pajiba.com/assets_c/2024/03/2024OscarsFashionOldHollywood-thumb-700xauto-261089.jpg" ]	[ "https://www.youtube.com/embed/h6hZkvrFIj0", "https://www.youtube.com/embed/DpxtbtnC1u8", "https://www.youtube.com/embed/-x08iNZ8Mfc" ]	[]	[ "In Defense of Guy Ritchie", "Let me preface this piece a little sheepishly by saying that I have not yet seen Aladdin so I very well could be making a giant U-turn on this argument should that film be as mad as we're all dreading..." ]	null	[ "Kayleigh Donaldson" ]	2019-05-23T14:40:00-05:00	Let me preface this piece a little sheepishly by saying that I have not yet seen Aladdin so I very well could be making a giant U-turn on this argument should that film be as mad as we're all dreading...		/apple-touch-icon.png	Pajiba	https://www.pajiba.com/film_reviews/in-defense-of-guy-ritchie.php	Let me preface this piece a little sheepishly by saying that I have not yet seen Aladdin so I very well could be making a giant U-turn on this argument should that film be as mad as we’re all dreading it could be. But hey, King Arthur: Legend of the Sword didn’t sink my Guy Ritchie apologist tendencies. Hell, even Swept Away couldn’t manage that (although it came perilously close). So, while I still have the nerve to do so, here is my argument in favour of the works and directorial style of Guy Ritchie. Guy Ritchie is incredibly easy to mock and dismiss, both as a director and a public figure. He’s the upper middle class son of a literal Lady who went to private school but whose creative persona is that of a tough bloke from the streets. He was Mr. Madonna for several years and directed her in a truly awful movie, then made a vaguely Kabbalah inspired thriller that was a public joke for many years. His films are mega stylish and maybe a tad stupider than he believes them to be. He’s even got a Razzie on his shelf (or more likely in a skip somewhere). There are some British directors it’s cool to like, those whose distinctive style and prestigious approach to the craft make them worthy of cultural analysis. Ritchie doesn’t get included in those conversations very often. Now, with Aladdin getting reviews that range from ‘eh’ to ‘honestly not as bad as I thought it would be’, that narrative seems unlikely to change. So allow me to be his one far too enthusiastic cheerleader, the one person who watched King Arthur: Legend of the Sword and thought, ‘Actually I quite liked that and will watch it again.’ And reader, I did. Many times. Ritchie at his best is often accused of prizing style over substance, as if there is no storytelling weight or worth to such elements beyond their aesthetically pleasing nature. He has always worked best in heightened realities, be it the frenetic neo-realism of Cockney London or a GQ photoshoot ready version of 1960s retro glamour. Even in the slickest of environments, Ritchie creates layers of lived-in emotion. His Sherlock Holmes movies get a lot of flack for their hyper-kinetic action scenes, such as Sherlock’s mental breakdown of how he’s going to beat his boxing opponent move by move before he even makes the first strike. In fairness, it is ripe for parody, but that doesn’t take away from the sheer visceral thrill of those moments. It’s in that balance between the precise and the bombastic that Ritchie has found his niche, with super specific takes on well-trodden territory, be it London hard-men or literature’s most refined detective. Ritchie’s breakout was 1998’s Lock, Stock and Two Smoking Barrels, a crime comedy that introduced the world to a former diver named Jason Statham. Everything that defines Ritchie as a director is here: The scrappy dialogue, the music video acrobatic editing, the propulsive plotting that sees no point in stopping for breath, and a world of grimy style that’s just one step into the unreal. It’s a Cockney gangster movie that’s delighted by its own coolness - something else he is heavily criticized for - but it’s also self-aware enough to know that these posing doofuses, as lovable as they can be, are utterly ridiculous. They are not above being mocked or treated like caricatures, which is helped by the fact that they all live in worlds that are a tad too much in the best way possible. As much as he is defined by his London hard man movies about crimes and punching, perhaps Ritchie’s best films are his Sherlock Holmes duology, which are… about London hard men, crimes and punching. When he was announced as the director of a new Holmes film, to star Robert Downey Jr. in the leading role, most of the responses were somewhere between confusion and outright indignation. How could the guy that made Revolver, which not even I am daft enough to defend, get his hands on this beloved material? There was a weird element of classism to the idea of him making a ‘dumbed down’ mainstream action movie from the Holmes story (which is silly because Ritchie is so not working class), but a lot of those attitudes forget that Arthur Conan Doyle’s stories are unashamedly pulp entertainment for the masses. So why not make a movie like that and why not give it to the guy (no pun intended) who knows how to have a good time? Sherlock Holmes and its far superior sequel Sherlock Holmes: Game of Shadows are much more faithful to the spirit of Conan Doyle’s stories than they get credit for. Over-the-top, bombastic, affectionate, and utterly unconcerned with subtlety, the tales and their iconic protagonists prove to be perfect partners for Ritchie and the things he does best. This is less a depiction of Victorian London than it is a lovingly detailed version of that era as imagined by people who read too much Conan Doyle and Penny Dreadful stories. Something is always happening and Sherlock is always ahead of the game. In his wonderful video essay on Sherlock Holmes: Game of Shadows, Scout Tafoya notes the film’s blending of futurism and Soviet montage. Ritchie also gives audiences a Holmes who is flippant but not crushed by the weight of his own ego. Rather, he quite likes showing off and isn’t too concerned with everyone around him telling him to cool off. He’s the most ‘jealous ex-boyfriend of Watson’ version of the character we’ve seen since The Great Mouse Detective, a dynamic helped greatly by Downey Jr. and Jude Law’s excellent chemistry. This is a bro-off without the pesky toxicity. All of those elements are pushed to the forefront in the sinfully underrated and perennial Pajiba favourite that is The Man From U.N.C.L.E. We could write about this film every day until the world burns and it still wouldn’t be enough to satisfy me. The film is a well-oiled machine with every cog doing its job marvellously. It’s a throwback to the TV series itself, but also an entire genre of spy thrillers that was probably never as cool as our nostalgia goggles remember it being. Not even James Bond was this effortlessly suave. Sure, this thing has a plot, but the main concern is allowing extremely charismatic people to be more charming than you could ever hope to be, all while dressed in the era’s finest fashion. Henry Cavill as Napoleon Solo is so ridiculously appealing as a leading man that you wonder if the DC films vacuumed out his personality before shouting ‘Action’, and his chemistry with Armie Hammer is a blissful balance of antagonism, wit, and grudging respect. Imagine Mission: Impossible with all the pastiche of the ’60s (right down to the jazz flutes filled score) combined with the ever so modern flair that Guy Ritchie’s always gloried in. At a time when so many of the most prominent blockbusters of the decade rely on the same basket of tricks for their action scenes, Ritchie never slouches on delivering dynamic set pieces that take full advantage of everything the camera, the editing booth, and practical stunts have to offer (the CGI is nowhere near as overwhelming as it’s often accused of being). The opening fifteen minutes are some of the best moments seen in a big budget blockbuster this century. Ritchie fails when he’s forbidden from making Guy Ritchie Movies. King Arthur: Legend of the Sword is much more enjoyable than it gets credit for, but it’s an undeniable step down when compared to its predecessors, in large part because it’s been forced into the constraints of being a franchise starter in the Marvel mould. When King Arthur is a sh*t-kicking period action movie about a bunch of dudes fighting a sleazeball - Lock, Stock and Two Smoking Excaliburs, if you will - it’s exactly what you want from Ritchie. Sadly, most of the time, it’s a Hollywood origin story, and it’s not worth your time. Ritchie is a nostalgist who knows how to breathe new life into the retro, but all he’s been asked to do here is regurgitate the same tropes to diminishing returns. It’s a shame because he’s probably got a much better King Arthur movie in him, but this is also my big fear for Aladdin. The major issue with Disney’s live-action remakes is that they don’t care to reinvent their classic stories because it doesn’t suit their brand strategy to do so. Instead, directors are tasked with copying, often shot-for-shot, the source material, refreshing it just enough to fix out-of-date politics or characterization. Even if Ritchie weren’t an ill fit for the job of directing Aladdin, it’s tough to see what he could gain from taking on this task. What freedom does it offer for him to do what he does best? Perhaps he’ll knock it out of the park, or maybe my Guy Ritchie apologist stance will be quietly taken to the shed and put out of its misery. Whatever the case, there is something to be said about Ritchie when he’s firing on all cylinders and how much sheer visceral pleasure there is to be taken in viewing A Guy Ritchie Movie. Come on, you do need another excuse to re-watch The Man From U.N.C.L.E.?
28270	yago	0	86	https://www.thewrap.com/operation-fortune-review-jason-statham/	en	‘Operation Fortune’ Review: Guy Ritchie’s Long-Delayed Action Comedy Misses the Mark	https://i0.wp.com/www.th…1200%2C675&ssl=1	https://i0.wp.com/www.th…1200%2C675&ssl=1	[ "https://i0.wp.com/www.thewrap.com/wp-content/uploads/2023/03/operation-fortune-aubrey-plaza-jason-statham-1.jpeg?fit=990%2C557&ssl=1", "https://i0.wp.com/www.thewrap.com/wp-content/uploads/2021/12/Operation-Fortune.jpg?fit=300%2C169&ssl=1", "https://i0.wp.com/www.thewrap.com/wp-content/uploads/2023/02/Inside-willem-dafoe-2023.jpg?fit=300%2C169&ssl=1", "https://i0.wp.com/www.thewrap.com/wp-content/uploads/2022/10/Creed-III.jpg?fit=300%2C169&ssl=1", "https://i0.wp.com/www.thewrap.com/wp-content/uploads/2024/06/EM_06194_COVER_IR_JV4_X.jpg?fit=250%2C300&ssl=1" ]	[]	[]	[ "" ]	null	[ "Robert Abele" ]	2023-03-01T17:11:35+00:00	Despite an A-list cast including Jason Statham, Aubrey Plaza, and Hugh Grant, "Operation Fortune" doesn't have the grit of past Ritchie films.	en	https://i0.wp.com/www.th…it=32%2C32&ssl=1	TheWrap	https://www.thewrap.com/operation-fortune-review-jason-statham/	When it comes to the genre playgrounds he loves so much, is Guy Ritchie better off being himself or playing along? His brash, bad-lad calling cards (“Lock Stock and Two Smoking Barrels,” “Snatch”) were never terribly original, but their style-to-burn derivativeness had spirit. His Hollywood larks (“Sherlock Holmes,” “The Man From U.N.C.L.E.”) never felt honest but the occasional glimpse of a bruiser’s cockiness made for colorful upgrades in the IP machinery. After Ritchie’s return to leaner (but never in the dialogue) roots with the comically shaggy, seedy gangster wingding “The Gentlemen,” and reteaming with his best contribution to cinema — Jason Statham — for the brackish vengeance puddle “Wrath of Man,” the British filmmaker is once again aiming for sleek and starry heights with the spy-driven action comedy “Operation Fortune: Ruse de Guerre.” Statham is the “Fortune” of the title, first name Orson, an elite for-hire operative with clever ideas and expensive tastes, hired by intelligence agency rep Nathan (Cary Elwes) to determine who’s interested in a stolen package rumored to be worth $10 billion on the open market. Whatever it is, whoever stole it, and whomever wants it, it can’t be good. But on top of that conundrum Orson is given a new coterie of experts – quick-witted tech ace Sarah (Plaza) and no-nonsense marksman JJ (Bugzy Malone) – and competition in the form of covert ops archrival Mike (Peter Ferdinando). That’s not a bad set-up for spook shenanigans, even if the first sequence of Orson’s and Mike’s teams vying for the same surveilled target doesn’t quite deliver memorable thrills or laughs. The first injection of mission fun comes when the trail leads to a glitzy charity soiree on the yacht of industrialist and arms dealer Greg Simmonds, played with enjoyably purring sleaze by Grant, still making the most of his swerve into character-actor sordidness. The billionaire’s obsession with a movie star named Danny Francesco (an agreeably superficial Josh Hartnett) puts Orson’s team in an enviable position to infiltrate Greg’s lavish Turkish villa and learn a dangerous international deal’s inner workings. The problem is that in its lackluster rehash of caper tropes “Operation Fortune” only ever feels like a subpar audition for Ritchie to direct the next 007 film, whereas its winning elements – the returning Statham, “Gentlemen” standout Hugh Grant in another fragrant Cockney accent, and new Ritchie player Aubrey Plaza – remind us of why amusing actors invariably made his movies more entertaining than they deserved to be. It leaves “Operation Fortune” never knockabout enough to count as antic homage to these types of movies nor suitably thrilling in its save-the-world particulars to be a cracking good time in its own right. It’s like the Vegas simulacrum of a globe-trotting adventure. Whenever you’re primed for the distract-and-snoop thrill of something out of “Mission: Impossible,” or the showdown panache of a Jason Bourne film, or even what Paul Feig did with character humor in outlandish situations in “Spy,” Ritchie stays stuck in a lazy mid-range elegance of wisecracks, gloss, and tidy violence – neither his old guns-guff-and-geezers self nor the prankster inside the system. As “Operation Fortune” moves along its story, cunning and actor chemistry matters less and less, while the trappings of a spottily organized, blandly exotic merry-go-round – the usual hacked computers, dispatched goons, and snarky one-liners in chic surroundings – take center stage. Ritchie, writing again with collaborators Ivan Atkinson and Marn Davies, seems afraid of spoiling the vacation sheen (courtesy cinematographer Alan Stewart) with anything like tantalizing interpersonal relationships or genuine danger. You may not be surprised to learn that Grant seems like he’s in his own movie – a more enjoyably corrupt one – or that the rascally glamorous Plaza feels like only a guest star on Guy Island, not an organic team member. But it’s a little disconcerting how underutilized Statham is as the ostensible star superspy when we know what he can do with better, more comically vigorous material. (See the aforementioned “Spy.”) Perhaps middle age has made a couple of swagger veterans like Statham and Ritchie feel like they’ve earned the right to coast if the filming location is pretty enough (Turkey and Qatar play themselves, and sub for LA, France, and Spain), the action isn’t too demanding, and every fourth line has just enough sarcastic bite. Ritchie has always been a performative director, so maybe “Operation Fortune: Ruse de Guerre” is right in line with his jocular acts of gutter criminality and Hollywood imitations, existing in a kind of touristy netherworld of entertainment – more a handsomely mounted “ruse” of an action comedy than one itself.
28270	yago	2	71	https://www.yardbarker.com/entertainment/articles/the_gentlemen_how_does_guy_ritchies_netflix_series_connect_to_the_movie/s1_17197_40067378	en	‘The Gentlemen’: How Does Guy Ritchie’s Netflix Series Connect to the Movie?	https://www.yardbarker.c…1014x570.jpg?v=1	https://www.yardbarker.c…1014x570.jpg?v=1	[ "https://www.facebook.com/tr?id=1324276914788316&ev=PageView&noscript=1", "https://www.yardbarker.com/images/logos/131016_YBlogos_H_line_W_T.png", "https://www.yardbarker.com/images/logos/131016_YBlogos_H_line_W_T.png", "https://www.yardbarker.com/images/icons/icon-search-white.svg", "https://www.yardbarker.com/images/icons/icon-fb-f-2.svg", "https://www.yardbarker.com/images/icons/twitter.png", "https://www.yardbarker.com/images/icons/facebook_square.png", "https://www.yardbarker.com/images/icons/flipboard.png", "https://www.yardbarker.com/images/icons/twitter_square.png", "https://www.yardbarker.com/images/icons/icon-account.svg", "https://www.yardbarker.com/uploads/logo/image/2312/131006_YBlogos_L_Bug.jpg", "http://res.cloudinary.com/ybmedia/image/upload/c_crop,h_570,w_1013,x_0,y_0/c_fill,f_auto,h_900,q_auto,w_1600/v1/m/5/2/52ad71dc7a496e48a8bb21af9997ef6087709988/the-gentlemen-season-1-theo-james-1014x570.jpg", "https://www.yardbarker.com/images/icons/fb.png", "https://www.yardbarker.com/images/icons/twitter.png", "https://www.yardbarker.com/images/icons/flipboard_white.png", "https://www.yardbarker.com/images/icons/reddit.png", "https://www.tvinsider.com/wp-content/uploads/2024/03/the-gentlemen-cast-netflix-1014x570.jpg", "https://www.yardbarker.com/images/logos/131006_YBlogos_L_Bug_T.png", "https://www.yardbarker.com/uploads/logo/image/1165/texas_rangers_150x150.jpg", "https://www.yardbarker.com/uploads/logo/image/1198/kansas_city_chiefs_150x150.jpg", "https://www.yardbarker.com/uploads/logo/image/1327/denver_nuggets_150x150.jpg", "https://www.yardbarker.com/uploads/logo/image/2299/las_vegas_golden_knights_150x150.jpg", "https://www.yardbarker.com/images/logos/131016_YBlogos_H_line_W_T.png", "https://www.yardbarker.com/images/icons/flipboard_white.png", "https://www.yardbarker.com/images/icons/fb.png", "https://www.yardbarker.com/images/icons/twitter.png", "https://www.yardbarker.com/images/ncpg_logo.png", "https://sb.scorecardresearch.com/p?c1=2&c2=7161055&cv=4.4.0&cj=1" ]	[]	[]	[ "" ]	null	[]	2024-03-06T21:05:12-05:00	Netflix‘s new Guy Ritchie series The Gentlemen may sound like a remake, but it’s set in the same universe as the director’s 2019 film of the same name.	en	/apple-touch-icon.png?v=2	Yardbarker	https://www.tvinsider.com/1125410/the-gentlemen-series-connected-guy-ritchie-movie/	Netflix‘s new Guy Ritchie series The Gentlemen may sound like a remake, but it’s set in the same universe as the director’s 2019 film of the same name. Despite not featuring the original cast members — Matthew McConaughey, Colin Farrell, Jeremy Strong, Hugh Grant, Henry Golding, and Charlie Hunnam — the show incorporates many of the same elements of the original, namely the marijuana empire first introduced by McConaughey’s character Michael Pearson in the film. As the American expat attempts to sell off his business, a series of plots, schemes, bribery, blackmail, and more ensue, as gangsters and the like attempt to steal the organization out from under him. In the 2024 outing, Theo James steps into the lead role as Duke of Halstead, Eddie Horniman, the estranged son of an English aristocrat. Eddie soon finds himself embroiled in a world of criminality when he discovers the underground operation of Bobby Glass’ (Ray Winstone) cannabis empire taking place on his family’s estate. Still dabbling in the drug world and bouncing between the circles of wealthy elites and street-level gangsters, The Gentlemen series certainly echoes the movie but brings to life all-new original characters operating in the world first established in 2019. “The world of The Gentlemen is a little bit of me,” Ritchie told Netflix. “We’re looking forward to bringing fans back into that world, introducing new characters and their stories, and I am excited to be doing it with this extremely talented cast.” Also among the cast is Skins vet Kaya Scodelario, who plays Bobby’s daughter Susie Glass, the runner of day-to-day operations of the drug business. “Understandably, His Grace wants to extract himself from this particular business,” Ritchie told Netflix’s Tudum. Along the way, Eddie will find himself playing the game just as much as the true criminals, forcing himself to reflect on his role. “And that’s where deals are struck with the underworld that will probably come back to haunt him,” Ritchie added. “That’s really what the show is about — the evolution from zoo to jungle, and how to hunt in the jungle.” Also along for the ride are Daniel Ings, Joely Richardson, Vinnie Jones, Giancarlo Esposito, Chanel Cresswell, Michae Vu, Max Beesley, Jasmine Blackborrow, Harry Goodwins, Dar Salim, Pearce Quigley, Ruby Sear, and Peter Serafinowicz. Don’t miss it for yourself, tune into The Gentlemen to see how it fits into the world of Ritchie’s film. The Gentlemen, Series Premiere, Thursday, March 7, Netflix
28270	yago	0	87	https://www.pajiba.com/film_reviews/review-wrath-of-man-is-the-latest-joyless-entry-in-guy-ritchies-oeuvre-.php	en	Review: ‘Wrath of Man’ is the Latest Joyless Entry in Guy Ritchie’s Tiringly Bro-Sh*t Oeuvre	https://www.pajiba.com/a…0x291-234593.jpg	https://www.pajiba.com/a…0x291-234593.jpg	[ "http://b.scorecardresearch.com/p?c1=2&c2=20407962&cv=2.0&cj=1", "https://www.pajiba.com/assets_c/2024/06/logo-pajiba-thumb-700xauto-263486-thumb-700x140-263487.jpg", "https://www.pajiba.com/assets_c/2021/05/WrathOfManGuyRitchie-thumb-700x291-234593.jpg", "https://www.pajiba.com/assets_c/2021/05/WrathOfManGuyRitchie-thumb-700x291-234593.jpg", "https://www.pajiba.com/assets_c/2024/08/RobMcElhenneyKaitlinOlsonEmmys-thumb-700xauto-264609.jpg", "https://c.statcounter.com/343740/0//1/" ]	[ "https://www.youtube.com/embed/EFYEni2gsK0" ]	[]	[ "Review: 'Wrath of Man' is the Latest Joyless Entry in Guy Ritchie's Oeuvre", "Guy Ritchie is no Michael Mann. And when did he become so ... predictable?Wrath of Man", "Ritchie's adaptation of the 2004 French film Cash Truck from director Nicolas Boukhrief", "is neither interesting nor fun. It's a Heat rip-off", "but not..." ]	null	[ "Roxana Hadadi" ]	2021-05-08T14:00:00-05:00	Guy Ritchie is no Michael Mann. And when did he become so ... predictable?Wrath of Man, Ritchie's adaptation of the 2004 French film Cash Truck from director Nicolas Boukhrief, is neither interesting nor fun. It's a Heat rip-off, but not...		/apple-touch-icon.png	Pajiba	https://www.pajiba.com/film_reviews/review-wrath-of-man-is-the-latest-joyless-entry-in-guy-ritchies-oeuvre-.php	Guy Ritchie is no Michael Mann. And when did he become so … predictable? Wrath of Man, Ritchie’s adaptation of the 2004 French film Cash Truck from director Nicolas Boukhrief, is neither interesting nor fun. It’s a Heat rip-off, but not a gonzo one like Den of Thieves, which was anchored by the uncontainable charisma of Gerard Butler, Pablo Schreiber, and the sneakily effective O’Shea Jackson Jr. Although ostensibly about a series of hits on a cash-truck service, Wrath of Man, as scripted by Richie and cowriters Ivan Atkinson and Marn Davies, isn’t really a heist movie at all. This is more of a Death Wish homage by way of Steven Soderbergh’s The Limey, an ode to the ’70s “wounded guy, big gun” aesthetic. Maybe it would be sort of a throwback delight if practically everyone in this movie didn’t perceive acting as setting your face into a holding-back-a-fart scowl. Maybe the plot could draw you in if it weren’t so plainly obvious from the beginning where, exactly, this was going. Maybe if Ritchie let Statham, who was so perfectly used in his own film Snatch as a guy who is a toughie but also more than that, crack a smile, there would at least be some human interiority here. Alas. Wrath of Man is a tedious snooze, another one of Ritchie’s movies—after The Gentlemen—that mistakes homophobic banter and racist insults for character development. You want any of Ritchie’s admittedly-engaging aesthetic style? You won’t find that here. What about a tangible sense of place? Nope. (I really wrote in my notes more than once, “Where the hell is this supposed to be?”) And I’m not sure how to phrase this correctly, but for a movie utterly defined by violence, Wrath of Man is also utterly disinterested in creative approaches. This isn’t like the John Wick franchise, which has a phenomenally high body count but always seems to treat guns, daggers, or other weapons as extensions of the human form—true tools that we wield in ferocious dances with our foes and fates. Neither is it like, again, a Mann film, in which characters are aware of the brutish ugliness they’re capable of inflicting, but are also capable of love, melancholy, and regret. You know in Heat, when Al Pacino and Robert De Niro have that diner conversation about whether they can ever do anything else with their lives (“I don’t know how to do anything else”)? You felt that mixture of resolution and anguish, and the toll of all this violence. Statham’s H. never gets so much depth in Wrath of Man, not when he’s played so flatly. But I guess, to Statham’s credit, his performance matches the film in which he’s in: inert and incurious, without any kind of artistry or nuance. Wrath of Man is all body count, and its self-seriousness is exhausting. This isn’t Ritchie’s Heat; it’s his The Tax Collector. The film adopts the nonlinear structure that Ritchie often likes to play with, beginning in the present, jumping back five months, then jumping forward again five months; shifting between three perspectives; and divided into various chapters, titled ominous (I guess?) phrases like “A Dark Spirit” and “Bad Animals, Bad.” After a pre-credits scene in which we’re inside an armored truck while it’s attacked, we meet H. as he applies to a job at that truck company, Fortico Security. He’s not one for small talk, actively rejecting the friendliness extended by coworker Bullet (Holt McCallany, hot but underserved) and sparring with immature, idiotic coworkers like Boy Sweat Dave (Josh Hartnett, hot but underserved). Impressed upon him often during the hiring process is that the money the trucks are transporting isn’t their own, and they shouldn’t try to defend it—that’s what got the two Fortico employees killed during that pre-credits attack. H. seems to understand, and although he barely passes the shooting part of the application process, he gets hired. Then, on a job, the crew is attacked. Bullet is taken hostage. Boy Sweat Dave dissolves into panic and wants to abandon him to protect the money. But H., cool and collected, takes charge, whips out his gun, and delivers a series of headshots to the would-be robbers. “Who is this fucking lunatic?” Boy Sweat Dave asks, and Wrath of Man eventually sketches in who H. is and what he wants by devoting about a third of the film to his backstory, and then another third of the film to villains played by, among others, Jeffrey Donovan, Laz Alonso, Raúl Castillo, and Scott Eastwood. “Kill or be killed,” H. says of his actions, and yeah, OK, whatever. When did I most check out of Wrath of Man? Maybe when I realized the dialogue would never get better than lines “Suck your own dick” and “Did you make poopoo?” Maybe when Andy Garcia shows up to say “Let the painter paint,” a blatantly aped line from Tony Scott’s Man on Fire. Maybe when the baddies have this whole argument about whether “Afghanis” (not the correct term!) are Arabs or not, which feels like Ritchie sardonically winking at the critics unimpressed by his direction of the Middle East-set Aladdin. Or maybe when the final set piece fails to build any tension at all because Ritchie chooses to cross cut between it and the baddies’ planning, meaning that the forward momentum of what we’re watching in the present is constantly interrupted by the past. “There’s nothing they can do to stop us,” one of those guys says of their big score. But if I could stop you from watching Wrath of Man, well, that would be a professional accomplishment.
28270	yago	0	68	https://them0vieblog.com/2020/04/15/you-understand-me-now-dont-you-guy-ritchies-snatch-and-the-chaos-of-miscommunication/	en	“You Understand Me Now, Don’t You?” Guy Ritchie’s “Snatch” and the Chaos of Miscommunication…	https://them0vieblog.com…20/04/snatch.jpg	https://them0vieblog.com…20/04/snatch.jpg	[ "https://them0vieblog.com/wp-content/uploads/2013/08/cropped-onlygodforgivesheader1.jpg", "https://s2.wp.com/wp-content/themes/pub/digg3/images/bg_header_overlay.png", "https://m0vie.files.wordpress.com/2018/01/booklogo11.jpg", "https://m0vie.files.wordpress.com/2018/01/booklogo2.jpg", "https://m0vie.files.wordpress.com/2018/01/booklogo3.jpg", "https://m0vie.files.wordpress.com/2018/01/booklogo4.jpg", "https://m0vie.files.wordpress.com/2018/01/booklogo5.jpg", "https://m0vie.files.wordpress.com/2018/09/astarisborn14.jpg", "https://m0vie.files.wordpress.com/2018/09/holdthedark11.jpg", "https://m0vie.files.wordpress.com/2018/09/rosie7.jpg", "https://m0vie.files.wordpress.com/2018/09/maniac18.jpg", "https://m0vie.files.wordpress.com/2018/09/thehousewithaclockinitswalls9.jpg", "https://m0vie.files.wordpress.com/2018/09/thepredator131.jpg", "https://m0vie.files.wordpress.com/2018/09/asimplefavour7.jpg", "https://m0vie.files.wordpress.com/2018/09/thelittlestranger13.jpg", "https://m0vie.files.wordpress.com/2018/09/crazyrichasians14.jpg", "https://m0vie.files.wordpress.com/2012/10/blogawards2012.jpg", "https://m0vie.files.wordpress.com/2012/05/iba11.jpg", "https://m0vie.files.wordpress.com/2011/03/iba10.jpg", "https://them0vieblog.com/wp-content/uploads/2020/04/snatch4.jpg?w=468&h=187", "https://them0vieblog.com/wp-content/uploads/2020/04/snatch3.jpg?w=468&h=207", "https://them0vieblog.com/wp-content/uploads/2020/04/snatch.jpg?w=468&h=201", "https://them0vieblog.com/wp-content/uploads/2020/04/lockstockandtwosmokingbarrels.jpg?w=468", "https://them0vieblog.com/wp-content/uploads/2020/04/lockstockandtwosmokingbarrels1.jpg?w=468", "https://them0vieblog.com/wp-content/uploads/2020/04/lockstockandtwosmokingbarrels2.jpg?w=468", "https://them0vieblog.com/wp-content/uploads/2020/04/snatch5.jpg?w=468", "https://them0vieblog.com/wp-content/uploads/2020/04/snatch6.jpg?w=468", "https://them0vieblog.com/wp-content/uploads/2020/04/snatch1.jpg?w=468", "https://them0vieblog.com/wp-content/uploads/2020/04/snatch7.jpg?w=468", "https://them0vieblog.com/wp-content/uploads/2020/04/snatch8.jpg?w=468", "https://them0vieblog.com/wp-content/uploads/2020/04/snatch9.jpg?w=468", "https://them0vieblog.com/wp-content/uploads/2020/04/thegentlemen.jpg?w=468", "https://them0vieblog.com/wp-content/uploads/2020/04/snatch2.jpg?w=468", "https://them0vieblog.com/wp-content/uploads/2020/04/sweptaway.jpg?w=468", "https://them0vieblog.com/wp-content/uploads/2020/04/snatch10.jpg?w=468", "https://i0.wp.com/www.blogged.com/icons/vn_darrenm4_1489070.gif", "https://i0.wp.com/www.blogarama.com/images/button.gif", "https://i0.wp.com/sp.syndication.rssmountain.com/rssmountain_small_logo.gif", "https://i0.wp.com/www.blogcatalog.com/images/buttons/blogcatalog5.gif", "https://i0.wp.com/img.irishblogs.ie/images/irishblogs.gif", "https://i0.wp.com/www.linkwith.us/images/linkwith.gif", "https://m0vie.files.wordpress.com/2009/09/bt_assoc_g.jpg", "https://secure.gravatar.com/blavatar/3bbb8ad25d38f65c2c239495009bb41255065dc8a623bb5fcb514398a470ecb4?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://secure.gravatar.com/blavatar/3bbb8ad25d38f65c2c239495009bb41255065dc8a623bb5fcb514398a470ecb4?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2020-04-15T00:00:00	"Not Irish. Not English."	en	https://secure.gravatar.com/blavatar/3bbb8ad25d38f65c2c239495009bb41255065dc8a623bb5fcb514398a470ecb4?s=32	the m0vie blog	https://them0vieblog.com/2020/04/15/you-understand-me-now-dont-you-guy-ritchies-snatch-and-the-chaos-of-miscommunication/	This Saturday, I’ll be discussing Snatch on The 250, the weekly podcast that I co-host discussing the IMDb’s Top 250 Movies of All-Time. However, I had some thoughts on the film that I wanted to jot down first. “Have I made myself clear, boys?” “Yeah, that’s perfectly clear, Mickey. Yeah… just give me one minute to confer with my colleague. “… did you understand a single word of what he just said?” Guy Ritchie is an interesting director, in large part because there seems to be very little that actively defines “a Guy Ritchie film” outside of a few stylistic quirks. Films like Lock, Stock and Two Smoking Barrels, Snatch, Revolver, RocknRolla and The Gentlemen suggest a director fascinated with “hard men”, and some of this sensibility undoubtedly carries over into his blockbuster filmography, most obviously in the rambunctious stylings of Sherlock Holmes and most painfully in the attempts at grit in King Arthur. However, Ritchie has also spent a lot of time working as a director-for-hire on mainstream blockbusters worlds apart from that hypermasculinity, such as Swept Away, The Man From U.N.C.L.E. or Aladdin. More than that, Ritchie’s work is more often recognised for its visual flourish rather than its thematic coherance, the director adopting a high-energy approach to camera movements and editing. Ritchie’s emerged from British independent cinema in the late nineties, and his work shares more than a few passing similarities to the work of young and hungry filmmakers working on the contemporary American scene. It is perhaps too much to describe Ritchie as “the British answer to Quentin Tarantino”, but it’s not entirely unfair either. This is what makes Snatch such an interesting film. It is Ritchie’s second film, one that notably added some transatlantic flavour to the sensibilities of Lock, Stock and Two Smoking Barrels. Indeed, it’s tempting to write Snatch as an inferior copy of that earlier film, as a reiteration of that striking cinematic debut with extra Brad Pitt thrown in for marketability. After all, this was a particularly common line of criticism when the film was released. While there’s certainly some substance to this accusation, it overlooks the way in which Snatch makes its arguments much more clearly. Lock, Stock and Two Smoking Barrels is effectively a story about chaos. It is a narrative about a set of characters whose lives end up on a collision course, but without any real understanding of how or why that came to be. In many ways, it is a tale of action and reaction, populated by characters who lack the intelligence or the autonomy to fully comprehend the mechanics at play. The audience understands all of the forces at work in the narrative, but the characters remain blind to the internal guiding them along their path. Over the course of Lock, Stock and Two Smoking Barrels, the consequences of an ill-considered poker game compound with the ambitions of a group of college-educated marijuana dealers and the botched robbery of a set of antique shotguns. The plot of Lock, Stock and Two Smoking Barrels is effectively a gigantic Rube Goldberg machine, where a lot of the pleasure derives from watching the constituent elements collide in unexpected ways. As cogs in this elaborate machine, the characters are often oblivious to the forces acting upon them. This is a very nineties theme, capturing a sense of the existential ennui at the end of the twentieth century. More than that, it tapped into anxieties about an increasingly globalised world in which cause and effect were often so far abstracted from one another as to seem entirely alien. “Chaos theory” had entered the popular lexicon in Jurassic Park in June 1993, when Ian Malcolm explained that “a butterfly can flap its wings in Peking and in Central Park you get rain instead of sunshine.” This sentiment tapped into a variety of cultural and political anxieties during the nineties. The world seemed a lot smaller than it had been when Berlin Wall divided east and west. There was a sense of unintended consequences, of invisible ripples across the surface of the globe. The spread of viruses like AIDS and ebola demonstrated the invisible ties that bound people together, fears filtering into media like Outbreak or The X-Files. Economically, the collapse of the Asian markets in October 1997 led to a 554-point plunge for the DOW Jones. To be fair, it’s perhaps too much to credit Lock, Stock and Two Smoking Barrels with consciously exploring these themes. It largely seems like Ritchie’s primary goal with the film was to create a broad ensemble piece with an infectious energy and a charmingly dark wit. It’s entirely possible that these themes were carried over from Ritchie’s influences indirectly. After all, Quentin Tarantino was very much in step with these nineties anxieties, particularly in his early work like Reservoir Dogs and Pulp Fiction. Still, Snatch returns to these themes in a much more interesting way. Superficially, there’s a large overlap between Lock, Stock and Two Smoking Barrels and Snatch. This is obvious even looking at the cast list, with Ritchie carrying over actors like Jason Statham, Vinnie Jones, Jason Flemyng and Alan Ford from one project to the next. Of course, there is some sense that Ritchie was honing in on his core strengths. He noticeably beefs up the roles that he gives to Statham and Ford in Snatch, to capitalise on actors who excelled in smaller parts in Lock, Stock and Two Smoking Barrels. However, what’s especially engaging about Snatch is the way in which Ritchie approaches it as something of a cinematic grab bag. It exists half-way between Ritchie’s beginnings in British independent cinema and his eventual migration towards more conventional blockbuster fare. This is obvious in the casting, which juxtaposes Hollywood stars and British talent. Snatch features a lot of genuine variety in its cast, often pairing up actors for contrast. Dennis Farina is an institution of a particular sort of American cinema, largely owing to his collaborations with director Michael Mann. However, he shares most of his scenes in Snatch with Mike Reid, who would have been best known for his long-running role as Frank Butcher on the BBC soap opera Eastenders. At the point that Snatch was produced, Jason Statham was probably still best known as a professional diver, but he often ends up playing off Brad Pitt, one of the most recognisable movie stars in the world. Snatch is built around this juxtaposition of international stars with homegrown talent. Benecio del Toro would jump straight from a supporting role in Snatch into an Oscar-winning performance in Traffic. In contrast, Alan Ford was most likely best known for a small role in The Long Good Friday before he collaborated with Ritchie. Stephen Graham is now a respected character actor known for work in films like The Irishman, but he came into Snatch off the back of recurring roles in The Bill and Coronation Street. Structurally, Snatch is very similar to Lock, Stock and Two Smoking Barrels. It adheres to format of a narrator conversationally relate the story to the audience, often including backtracking to clarify a point or pausing to elaborate on some seemingly minor detail. Once again, a variety of characters operating in various shades of grey find their plans and their schemes intersecting and overlapping in unexpected ways. This time, a plan to buy a caravan somehow leads to the lead characters getting hold of a giant diamond. However, Snatch is more confident in its themes than Lock, Stock and Two Smoking Barrels. It is clearer in what it is trying to say. Of course, this is a Guy Ritchie film, so there’s a sense in which function is ultimately secondary to form, that substance is tailored so as to compliment style. Snatch is a film designed to showcase Ritchie’s kinetic and kinetic approach to filmmaking, so it makes sense that the film is built around a structure that allows for sharp transitions and juxtapositions, with a framework that excuses any internal inconsistencies as the work of an unreliable narrator. Nevertheless, Snatch is built around the idea of miscommunication and misunderstanding. Characters frequently struggle to comprehend one another. There is a clear gulf between the various characters, and a recurring sense that everything in the film would be a lot easier if the characters were able to clearly represent themselves. Seemingly minor misunderstandings spiral outwards, often leading to hilariously disproportionate consequences. The opening scene suggests this idea, as Frankie Four Fingers orchestrates the robbery of a jeweler in Antwerp. Posing as an Orthodox Jew, Frankie opines at length about how so much of Christianity must be based on a misreading of the source text. “Catholic religion is based on a mistranslation,” he explains. “The Septuagint scholars mistranslated the Hebrew word for ‘young woman’ into the Greek word for ‘virgin.’ It was an easy mistake to make, because there was only a subtle difference in the spelling.” To be fair, this is a point of discussion among scholars, even though the idea of “virgin birth” long predates Christianity. However, Snatch seems less interested in the act of religious criticism and much more engaged with the idea of miscommunication. Frankie finishes his story as the opening credits wrap up, offering a thesis statement. “I’m saying, just because it’s written doesn’t make it so,” he tells his colleague. “Gives them hope. It’s not important whether it’s fact or fiction.” This is stock postmodernism, of the kind that permeates a lot of nineties cinema in a variety of ways. It extends to the questioning of reality in films like The Matrix, Dark City, The Truman Show and The Thirteenth Floor. In Snatch, it’s filtered through in the emphasis placed on Turkish as an unreliable narrator. At various points in the film, events are depicted that are simply impossible; Frankie repeatedly changes costumes on a phonecall to cousin Avi, a car accident involves cars in the city and country, an explanation of hare coursing jumps from a car to a field. These are all touches that might be considered continuity errors. More cynically, they exist as an excuse for Ritchie to construct the movie however he wants without having to worry too much about internal consistency. However, there is a sense in which this is conscious. A lot of the film is focused on Turkish’s perception of events, most notably when the camera follows his gaze Brick Top introduces him to the wild dogs that he keeps in his pit. These contradictions exist to underscore the idea that even Turkish can’t clearly communicate himself to the audience. This is most obvious at the climax of the film. Mickey’s bloody revenge against Brick Top only really works as a twist because Turkish’s narration of events erases Mickey as a character with agency in the narrative. He casts Mickey as a comic relief side character, which allows Mickey to surprise the audience by resolving the plot. Turkish himself offers a mea culpa to the audience, pointing out how his telling ignored the emotional gravity of Brick Top’s murder of Mickey’s mother. “It had previously occurred to me that he’d taken the demise of his mother rather lightly. It isn’t just Turkish who struggles to make himself clear to the audience. It also isn’t as simple as a linguistic difference. Flying over from New York, Cousin Avi struggles to process the local slang. When he is told that the local bookies got “blagged”, he objects, “Speak English. This country spawned the language, and nobody seems to speak it.” There’s a sense in which Snatch plays into the familiar trope of the United States and the United Kingdom as “two nations divided by a common language.” Snatch is an international affair. The diamond caper begins in Antwerp before migrating to London. Even in London, the underworld of Snatch has truly globalised. After Frankie goes missing, Avi hops on flight to London. The film makes the trip seem instantaneous, which may not be too far from the truth given that concorde was operating between New York and London at the time. The plot expands to involve the weapon dealer “Boris the Blade.” Drinking from an “I [heart] Moscow” mug, he’s repeatedly identified as “the Russian”, but “to be technical, he’s an Uzbekistanian.” Most controversially, this applies to the Traveler community within Snatch. It is perhaps too generous to suggest that some of the film’s portrayal of that community has not aged well. Snatch plays off a variety of stereotypes of Travelers, from their wily manipulations to their capacity for violence. The characters in Snatch take a great a deal of pleasure in using a racial slur to describe these characters, similar to the way in which the characters in The Gentlemen enjoy using slurs to describe the Chinese-British gangster “Dry Eye.” Even if one is to be charitable to Snatch, to suggest that the film is cannily weaponising the audience’s own preconceptions of the community in order to blindside them by making Mickey the hero of the story, there is an uncomfortable sense of exoticism to some of the sequences set in the Traveling community. While there is something subversive in casting one of the most handsome men in the world to play a Traveler boxer, there is a sense in which this is a joke on the part of the film, an effort to “other” Brad Pitt in the same way pretty actors “ugly” themselves up for awards. Nevertheless, Snatch makes it clear that the Traveler characters exploit this difficulty in communication. Turkish remarks that the biggest problem in dealing with the community is that “you can’t understand what’s being said.” Again, this is not a linguistic barrier, it is something more fundamental. Mickey isn’t speaking Cant. Instead, he speaks something that Turkish defines as “not Irish, not English.” Instead, it is just a way of speaking that is incomprehensible to those outside the community. Again, there is something vaguely problematic in all of this. While Brad Pitt did work with dialect coach Brendan Gunn, and did meet with members of the community, by his own account he invented the accent while wandering around London the night before shooting. (He would later claim that he was inspired by a Father Ted character.) Rewatching Snatch years later, a lot of what Mickey says can be parsed if the audience pays enough attention. However, there’s something just a little distasteful in the fact that the DVD included a labelled subtitle track for Mickey. Snatch hints at the paradox of all this. The world is smaller than ever, but this just amplifies the potential for misunderstanding and comprehension. Characters are fundamentally unknowable to one another, whether because they are actively conspiring against each other or simply because they aren’t really listening. The result of all this is chaos and suffering, death and destruction. There’s a fascinating cynicism at the heart of Snatch, one which suggests that human beings are fundamentally unknowable to one another because they lack the ability to make themselves clear. Ritchie’s not a director who tends to deal with these sorts of themes on a regular basis. Indeed, Ritchie would quickly move on to the critical and commercial flop Swept Away, before trying to recapture his gangster credibility with Revolver and RocknRolla and then pivoting sharply to blockbusters with Sherlock Holmes. There is nothing inherently wrong with this. Indeed, there’s a tendency to assume too much of the director as auteur, prioritising thematic interests over the craft or technique. However, this is perhaps why – despite the uncomfortable material involving the Traveler community – Snatch has arguably aged better than a lot of Ritchie’s other films. It is the entry in Ritchie’s filmography that most successfully marries the director’s craft with a cohesive statement. Ritchie’s frantic editing and fractured storytelling work in a story that is about the breakdown of communication and the difficulty in understanding one another in a world where nobody says what they mean. Guy Ritchie has been accused of prioritising “style over substance”, and maybe there’s some truth in that. Luckily, Snatch finds a way to make each work in service of the other.
28270	yago	2	26	https://www.news-herald.com/2024/03/04/the-gentlemen-review-guy-ritchies-small-screen-take-fun-but-forgettable/	en	‘The Gentlemen’ review: Guy Ritchie’s small-screen take fun but forgettable	https://www.news-herald.…jpg?w=1024&h=683	https://www.news-herald.…jpg?w=1024&h=683	[ "https://www.news-herald.com/wp-content/uploads/2021/07/NewsHeraldOH-logo.png", "https://www.news-herald.com/wp-content/uploads/2024/03/TNH-L-TVReview-TheGentlemen-WBOX-030824-04.jpg?w=525", "https://secure.gravatar.com/avatar/f2e8ffd4ab4a28323e4dc76e7e16707d?s=85&d=mm&r=g", "https://i0.wp.com/www.news-herald.com/wp-content/uploads/2024/03/TNH-L-TVReview-TheGentlemen-WBOX-030824-01.jpg?fit=620%2C9999px&ssl=1", "https://i0.wp.com/www.news-herald.com/wp-content/uploads/2024/03/TNH-L-TVReview-TheGentlemen-WBOX-030824-03.jpg?fit=620%2C9999px&ssl=1", "https://i0.wp.com/www.news-herald.com/wp-content/uploads/2024/03/TNH-L-TVReview-TheGentlemen-WBOX-030824-05.jpg?fit=620%2C9999px&ssl=1", "https://i0.wp.com/www.news-herald.com/wp-content/uploads/2024/03/TNH-L-TVReview-TheGentlemen-WBOX-030824-02.jpg?fit=620%2C9999px&ssl=1", "https://www.news-herald.com/wp-content/uploads/2024/03/TNH-L-TVReview-3BodyProblem-WBOX-032224-04.jpg?w=620", "https://www.news-herald.com/wp-content/uploads/2024/03/TNH-L-TVReview-Manhunt-WBOX-031524-01.jpg?w=620", "https://www.news-herald.com/wp-content/uploads/2024/02/AP24039639357721.jpg?w=525", "https://www.news-herald.com/wp-content/uploads/2024/01/TNH-L-Jeopardy-Cheung-013024-01.jpg?w=620", "https://www.news-herald.com/wp-content/uploads/2021/07/NewsHeraldOH-logo.png" ]	[ "https://www.youtube.com/embed/wyEOwHrpZH4?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent", "https://www.news-herald.com/2023/04/18/if-falters-a-bit-but-guy-ritchies-the-covenant-is-a-compelling-war-story-from-director-movie-review/embed/#?secret=FyCOf4LYX9" ]	[]	[ "'The Gentlemen", "' Guy Ritchie", "Netflix", "TV series", "review", "Theo James", "Kaya Scodelario", "Ray Winstone", "Matthew McConaughey", "Daniel Ings", "Peter Serafinowicz", "Henry Goodwin", "Giancarlo Esposito", "Breaking Bad", "Vinnie Jones", "Michael Vu", "'Lock", "Stock and Two Smoking Barrels" ]	null	[ "Mark Meszoros" ]	2024-03-04T00:00:00	Inspired by his movie of the same name, Guy Ritchie's TV series 'The Gentleman' is a reasonably entertaining but of forgettable fiction blending sophistication with drug-related violence \| TV review	en	https://www.news-herald.…iteicon.png?w=16	News-Herald	https://www.news-herald.com/2024/03/04/the-gentlemen-review-guy-ritchies-small-screen-take-fun-but-forgettable/	Best known for highly stylized action-comedy movies, English filmmaker Guy Ritchie hasn’t exactly stepped out of his comfort zone for a foray into television with “The Gentlemen,” a fairly entertaining eight-part hourlong action-comedy series debuting on Netflix this week. It’s inspired by his similarly enjoyable 2019 film of the same name in which expensive-suit refinement meets drug-trade violence. (This would seem to be similar to the move Ritchie made as a producer with 2000’s “Lock, Stock…,” a seven-part series coming two years after his feature directorial debut, “Lock, Stock and Two Smoking Barrels.”) Hey, sometimes it’s best to stick with what you know. First, know that you need not have seen the big-screen ‘Gentlemen’ to sip, sophisticatedly, on its small-screen cousin. Although press materials for the series state it “is set in the world of ‘The Gentlemen’ film,” we get not so much as a quip about Mickey Pearson, the drug kingpin played by Matthew McConaughey in the film. In this streaming offering, it is Ray Winstone’s Bobby Glass who oversees a cannabis empire built on high-yielding weed labs existing underneath English country estates. One such estate is Halstead Manor, home to the Horniman family. In the series’ opening minutes, as the Duke of Halstead (Edward Fox) nears death, his problem-solving son Eddie (Theo James) is called home from duty with the British Army to be with the family. Father then instructs son to watch out for his brother, Freddy (Daniel Ings). “He won’t survive without you.” We soon get a sense of why that may be true when the now-deceased duke’s will is read, with older brother Freddy not receiving the windfall he anticipates, the estate instead being handed to Eddie. First suggesting there may have been some understandable Eddie-Freddy confusion, Freddy goes ballistic. And so now we have an important dynamic: Freddy being the Fredo Corleone to Eddie’s Michael — at least if Fredo were prone to going on cocaine binges and racking up huge debts to dangerous men such as Tommy Dixon (Peter Serafinowicz), a member of powerful drug family. As Eddie tries to plot a course of action that will free Freddy, he also gets close to Susie Glass (Kaya Scodelario), the daughter of the imprisoned Bobby and the runner of his business’ day-to-day activities. After learning of the deal his father had made with Glass, which helps to explain how the family has managed to maintain its quite comfy lifestyle, Eddie wants to end the partnership. However, he knows this cannot be done immediately, and he agrees to help Susie with various business-related matters for the time being. The measured-and-steady type, he shows a real affinity for this work, even if he’s hampered by his inexperience at the onset. Susie, in turn, helps him with his Freddy trouble, which, predictably, goes from simmer to boil at the climax of the first episode. It isn’t easy to rattle her, but she may have a weakness in her pro-boxing brother, Jack (Henry Goodwin). Among those who may look to exploit such a potential pain point is Stanley Johnson (Giancarlo Esposito), an American with an appreciation for the finer things who affords them with a meth-pedaling organization — a fun nod to Esposito’s great character from “Breaking Bad,” Gus Fring. At least a tick stronger than its movie counterpart, “The Gentlemen,” is never stronger — or more stylized — than its first two episodes, which see Ritchie making his TV-directing debut. These are highly cinematic installments not matched by the series’ other directors Nima Nourizadeh, Eran Creevy and David Caffrey. (To be fair, your eyes tell you that none of them had the per-budget episode afforded to Ritchie.) “The Gentlemen” may feel like a film in stretches, but, as written by Ritchie and six others, it certainly dances to the rhythms of a television show, with lower-stakes middle chapters leading toward a climax that brings together several plot threads. If falters a bit, but ‘Guy Ritchie’s The Covenant’ is a compelling war story from director \| Movie review It possesses many pleasant elements, such as colorful side characters including sincere, stoned-out-of-his-mind pot grower Jimmy Chang (Michael Vu) and Halstead Manor gamekeeper Geoff Seacombe (Vinnie Jones), to whom there’s more than initially appears. The inclusion of Jones is a nod to Ritchie’s past, the actor making his movie debut in “Lock, Stock and Two Smoking Barrels” and also appearing in the director’s second film, “Snatch.” “The Gentlemen” almost certainly would have benefited from a ratcheting up of the sexual tension between Eddie and Susie, a bit more will-they-won’t-they energy. As it stands, their mutual attraction rarely rises above the level of a polite flirtation. All the same, the talented actors are enjoyable together. James (“Divergent,” “The White Lotus”) is ideal in the lead role, fitting nicely into his character’s pricey menswear but also is believable when Eddie shows the aggression fueled by his inherent determination. And Scodelario (the “Maze Runner” movies) is pretty cool and confident herself as Susie, a strong woman operating in a world of violent men, er, gentlemen. With episode titles such as “Tackie Tommy Woo Woo,” on-screen translations for certain chunks of dialogue and colorful language that’s oh-so-British, to go along with spurts of violence, “The Gentlemen” is pure Ritchie and will most delight his fans. For the rest of us, it likely will prove to be as impactful as many, but not all, of his films — a flashy but ultimately flimsy distraction you’ve all but forgotten in a week or so. ‘The Gentlemen’ What: Eight-episode debut season of hourlong series. Where: Netflix. When: All episodes available March 7. Rated: TV-MA. Stars (of four): 2.5.
28270	yago	2	30	https://deadline.com/2024/05/guy-ritchie-movie-cannes-market-black-bear-1235913805/	en	New Guy Ritchie Project ‘Wife And Dog’ Launches At Cannes Market With Black Bear	https://deadline.com/wp-…15311.jpg?w=1024	https://deadline.com/wp-…15311.jpg?w=1024	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://deadline.com/wp-content/themes/pmc-deadline-2019/assets/build/images/logo-black.svg", "https://deadline.com/wp-content/uploads/2024/08/John-Goodman-Sandra-Huller-Michael-Stuhlbarg-Jesse-Plemons-Sophie-Wilde-and-Riz-Ahmed.jpg?w=380&h=212&crop=1", "https://deadline.com/wp-content/uploads/2023/08/GettyImages-1191728889-e1691569315311.jpg?w=681&h=383&crop=1", "https://deadline.com/wp-content/themes/pmc-deadline-2019/assets/public/lazyload-fallback.jpg", "https://deadline.com/wp-content/themes/pmc-deadline-2019/assets/public/lazyload-fallback.jpg", "https://deadline.com/wp-content/themes/pmc-deadline-2019/assets/public/lazyload-fallback.jpg", "https://deadline.com/wp-content/themes/pmc-deadline-2019/assets/public/lazyload-fallback.jpg", "https://deadline.com/wp-content/uploads/2024/08/Jay-Littleton-Ball-Park.jpg?w=150", "https://deadline.com/wp-content/uploads/2024/08/MixCollage-22-Aug-2024-01-33-PM-7744-e1724330093615.jpg?w=150", "https://deadline.com/wp-content/uploads/2024/08/IMG_6971lron-1.jpg?w=150", "https://deadline.com/wp-content/uploads/2024/08/Drew-Barrymore-Show-Christina-Aguilera-2036336185.jpg?w=150", "https://deadline.com/wp-content/uploads/2024/08/TheLibrarians_CourtesyElectricEntertainment.jpg?w=150", "https://deadline.com/wp-content/uploads/2024/08/Eddie-Egan.jpg?w=150", "https://deadline.com/wp-content/uploads/2024/08/Kamala-Harris-DNC.jpg?w=150", "https://deadline.com/wp-content/uploads/2024/08/John-Goodman-Sandra-Huller-Michael-Stuhlbarg-Jesse-Plemons-Sophie-Wilde-and-Riz-Ahmed.jpg?w=150", "https://deadline.com/wp-content/uploads/2024/08/Studio.jpg?w=150", "https://deadline.com/wp-content/uploads/2024/08/Robert-F.-Kennedy-Jr.-and-Donald-Trump-e1724434050220.jpg?w=150", "https://deadline.com/wp-content/uploads/2024/08/Sarajevo-2024-winners.jpg?w=200&h=112&crop=1", "https://deadline.com/wp-content/uploads/2024/08/Jay-Littleton-Ball-Park.jpg?w=200&h=112&crop=1", "https://deadline.com/wp-content/uploads/2024/08/Screenshot-2024-08-23-at-1.41.12 PM.png?w=200&h=112&crop=1", "https://deadline.com/wp-content/uploads/2024/08/Strange-Darling-inset-Between-the-Temples.jpg?w=200&h=112&crop=1", "https://pixel.quantserve.com/pixel?a.1=p-0f0nSqEQ_DwA6&a.2=p-31f3D02tYU8zY" ]	[]	[]	[ "" ]	null	[ "Andreas Wiseman" ]	2024-05-13T17:05:36+00:00	Ritchie is coming off starry action-comedy The Ministry of Ungentlemanly Warfare and series The Gentlemen.	en	https://deadline.com/wp-…e-touch-icon.png	Deadline	https://deadline.com/2024/05/guy-ritchie-movie-cannes-market-black-bear-1235913805/	A new Guy Ritchie project is launching at the Cannes market with Black Bear. Plot details are being kept under wraps and casting is in process but Wife And Dog will deal with class in a similar vein to recent Netflix TV series The Gentlemen. Ritchie is coming off the starry action-comedy The Ministry of Ungentlemanly Warfare as well as The Gentlemen. Apple pic Fountain Of Youth is in production and Black Bear project In The Grey is in post. Warfare is the Jerry Bruckheimer-produced war movie starring Henry Cavill (Superman), Eiza González (Baby Driver), Alan Ritchson (Fast X, Reacher), Henry Golding (Crazy Rich Asians, The Gentlemen), Henrique Zaga (Beyond The Universe), Alex Pettyfer (Magic Mike, The Butler), Cary Elwes (Operation Fortune: Ruse de Guerre), Hero Fiennes Tiffin (After franchise), Babs Olusanmokun (Dune, “Star Trek: Strange New Worlds”) and Til Schweiger (Inglourious Basterds, Atomic Blonde). Black Bear was also in on that one.
28270	yago	3	9	https://www.copyright.gov/what-is-copyright/	en	What is Copyright?	https://www.copyright.go…icon-192x192.png	https://www.copyright.go…icon-192x192.png	[ "https://www.copyright.gov/img/cp-logo2.png", "https://www.copyright.gov/what-is-copyright/images/Paint jar.png", "https://www.copyright.gov/what-is-copyright/images/Yellow swash.png", "https://www.copyright.gov/what-is-copyright/images/Red blue swash.png", "https://www.copyright.gov/what-is-copyright/images/Red swash.png", "https://www.copyright.gov/what-is-copyright/images/Computer learning.png", "https://www.copyright.gov/img/cp-logo2.png", "https://www.copyright.gov/img/RSS.png", "https://www.copyright.gov/img/x-logo.png", "https://www.copyright.gov/img/YouTube.png", "https://www.copyright.gov/img/LI-In-Bug.png" ]	[]	[]	[ "what is copyright" ]	null	[ "U.S. Copyright Office" ]	null	Copyright is a type of intellectual property that protects original works of authorship as soon as an author fixes the work in a tangible form of expression. In copyright law, there are a lot of different types of works, including paintings, photographs, illustrations, musical compositions, sound recordings, computer programs, books, poems, blog posts, movies, architectural works, plays, and so much more!	en	/about/images/apple-icon-180x180.png		null	Copyright is a type of intellectual property that protects original works of authorship as soon as an author fixes the work in a tangible form of expression. In copyright law, there are a lot of different types of works, including paintings, photographs, illustrations, musical compositions, sound recordings, computer programs, books, poems, blog posts, movies, architectural works, plays, and so much more! Copyright is originality and fixation Original Works Works are original when they are independently created by a human author and have a minimal degree of creativity. Independent creation simply means that you create it yourself, without copying. The Supreme Court has said that, to be creative, a work must have a “spark” and “modicum” of creativity. There are some things, however, that are not creative, like: titles, names, short phrases, and slogans; familiar symbols or designs; mere variations of typographic ornamentation, lettering, or coloring; and mere listings of ingredients or contents. And always keep in mind that copyright protects expression, and never ideas, procedures, methods, systems, processes, concepts, principles, or discoveries. Fixed Works A work is fixed when it is captured (either by or under the authority of an author) in a sufficiently permanent medium such that the work can be perceived, reproduced, or communicated for more than a short time. For example, a work is fixed when you write it down or record it. Who is a copyright owner? Everyone is a copyright owner. Once you create an original work and fix it, like taking a photograph, writing a poem or blog, or recording a new song, you are the author and the owner. Companies, organizations, and other people besides the work’s creator can also be copyright owners. Copyright law allows ownership through “works made for hire,” which establishes that works created by an employee within the scope of employment are owned by the employer. The work made for hire doctrine also applies to certain independent contractor relationships, for certain types of commissioned works. Copyright ownership can also come from contracts like assignments or from other types of transfers like wills and bequests. What rights does copyright provide? U.S. copyright law provides copyright owners with the following exclusive rights: Reproduce the work in copies or phonorecords. Prepare derivative works based upon the work. Distribute copies or phonorecords of the work to the public by sale or other transfer of ownership or by rental, lease, or lending. Perform the work publicly if it is a literary, musical, dramatic, or choreographic work; a pantomime; or a motion picture or other audiovisual work. Display the work publicly if it is a literary, musical, dramatic, or choreographic work; a pantomime; or a pictorial, graphic, or sculptural work. This right also applies to the individual images of a motion picture or other audiovisual work. Perform the work publicly by means of a digital audio transmission if the work is a sound recording. Copyright also provides the owner of copyright the right to authorize others to exercise these exclusive rights, subject to certain statutory limitations. How long does copyright protection last? The length of copyright protection depends on when a work was created. Under the current law, works created on or after January 1, 1978, have a copyright term of life of the author plus seventy years after the author’s death. If the work is a joint work, the term lasts for seventy years after the last surviving author’s death. For works made for hire and anonymous or pseudonymous works, copyright protection is 95 years from publication or 120 years from creation, whichever is shorter. Works created before 1978 have a different timeframe. Learn more about copyright duration in our Duration of Copyrights Circular. When can I use works that are not mine? Agreements, Exceptions, and Limitations It is important to know that we are all also copyright users. When we read books, watch movies, listen to music, or use videogames or software, we are using copyright-protected works. So, even if you are not the owner of a work, you still may be able to use it. In addition to buying or licensing works (or some other way of seeking permission to use the work), you can also use one of the Copyright Act’s exceptions and limitations, or rely on works in the public domain. The Copyright Act’s exceptions and limitations found in sections 107-122 include fair use, the “first sale doctrine,” some reproductions by libraries and archives, certain performances and displays, broadcast programming transmissions by cable and satellite, to name a few. Interested in more information on fair use? Take a look at our Fair Use Index. The complete list of exemptions to copyright protection can be found in chapter 1 of Title 17 of the United States Code. You can also use works that are in the public domain. Works in the public domain are those that are never protected by copyright (like facts or discoveries) or works whose term of protection has ended either because it expired or the owner did not satisfy a previously required formality. Currently, all pre-1926 U.S. works are in the public domain because copyright protection has expired for those works. What is copyright registration? Copyright exists automatically in an original work of authorship once it is fixed, but a copyright owner can take steps to enhance the protections. The most important step is registering the work. Registering a work is not mandatory, but for U.S. works, registration (or refusal) is necessary to enforce the exclusive rights of copyright through litigation. Timely registration also allows copyright owners to seek certain types of monetary damages and attorney fees if there is a lawsuit, and also provide a presumption that information on the registration certificate is correct. Copyright registration also provides value to the public overall. It facilitates the licensing marketplace by allowing people to find copyright ownership information, and it provides the public with notice that someone is claiming copyright protection. It also provides a record of this nation’s creativity. There is only one place to register claims to copyright in the United States: the Copyright Office. For more information on registration benefits and procedures, please see our Copyright Registration Circular. What about other intellectual property rights? Patent and trademark are other types of intellectual property that may cover works and are considered separately from copyright eligibility. For example, patents, which are granted by the government, protect certain inventions or discoveries, designs for articles of manufacture, and plant varietals. Trademark law, on the other hand, protects words, names, symbols, or devices used in trade with goods or services to indicate the source of the goods and to distinguish them from the goods or services of others. For more information on these other types of intellectual property, take a look at the United States Patent and Trademark Office's patent and trademark information. What if there is change in ownership? Document Recordation The Copyright Office also records documents related to Copyright. This is known as Recordation, and means that the Office reviews and accepts documents, and keeps a record of, the documents people provide. Recordation relates to three different kinds of documents: transfers of copyright ownership, other documents relating to a copyright, and notices of termination, which authors or their heirs use when terminating certain transfers or licenses. What is statutory licensing? Statutory licenses are some of the limitations in the Copyright Act. They relate to certain uses of musical compositions, sound recordings, and cable and satellite programming. For comprehensive information on musical compositions and sound recordings, we have a number of useful resources like our Circulars and our dedicated Music Modernization Act page. For information on cable and satellite uses, visit our Licensing Division page.
28270	yago	0	91	https://joethemnmovieman.com/2023/04/18/covenant/	en	Movie Review ~ Guy Ritchie’s The Covenant ⋆ The MN Movie Man	https://joethemnmovieman…rgb-1024x683.jpg	https://joethemnmovieman…rgb-1024x683.jpg	[ "https://joethemnmovieman.com/wp-content/uploads/2023/04/guy-ritchies-the-covenant-I_04825_R_rgb.jpg", "https://i0.wp.com/joethemnmovieman.com/wp-content/uploads/2023/04/guy-ritchies-the-covenant-TheCovenant_OfficialPoster_Press_2765x4096_rgb.jpg?resize=518%2C768&quality=89&ssl=1" ]	[]	[]	[ "" ]	null	[ "Joe" ]	2023-04-18T00:00:00	The Facts: Synopsis: During the war in Afghanistan, a local interpreter risks his own life to carry an injured sergeant across miles of grueling terrainStars: Jake Gyllenhaal, Dar Salim, Antony Starr, Alexander Ludwig, Bobby Schofield, Emily Beecham, Jonny Lee MillerDirector: Guy RitchieRated: RRunning Length: 123 minutesTMMM Score: (6.5/10)Review: From the beginning, director Guy Ritchie has brought […]	en	https://i0.wp.com/joethe…quality=80&ssl=1	The MN Movie Man	https://joethemnmovieman.com/2023/04/18/covenant/	The Facts: Synopsis: During the war in Afghanistan, a local interpreter risks his own life to carry an injured sergeant across miles of grueling terrain Stars: Jake Gyllenhaal, Dar Salim, Antony Starr, Alexander Ludwig, Bobby Schofield, Emily Beecham, Jonny Lee Miller Director: Guy Ritchie Rated: R Running Length: 123 minutes TMMM Score: (6.5/10) Review: From the beginning, director Guy Ritchie has brought a style to his films that make them, if not instantly recognizable, at least easy enough to place on the same shelf. All of the movies the British-born filmmaker has under his belt have a swagger, even the duds like Swept Away and King Arthur: Legend of the Sword and the odd choices like his helming of a live-action adaptation of Disney’s musical Aladdin. It’s in movies I find exemplary in style, like The Man From U.N.C.L.E. and Wrath of Man, where he is at the peak of his game – yet these are the titles that audiences didn’t fully show up for. It boggles my mind. And it appears to send Ritchie off in other directions looking for his next projects instead of following his instincts and staying the course. Already in 2023, Ritchie has been represented in the blink-and-you-missed-it espionage comedy Operation Fortune: Ruse de Guerre, and he’s following it up a little over a month later with The Covenant. Whoops, sorry. Make that Guy Ritchie’s The Covenant. I’m unsure what makes the film unique enough for the director to put his name before the title. Considering it was initially set to be called The Interpreter, and both titles are so cookie-cutter, I suppose throwing in Ritchie’s name at least helps it stand out from the crowd somehow. Watching the film is like riding on a rocky road in a Jeep constantly shifting gears. There’s always forward momentum (it’s a Guy Ritchie film, after all), but it can be a herky-jerky trip from the beginning to the end. Opening with the most tremendous data dump of names since The New Mickey Mouse Club, we’re introduced to U.S. Army Sergeant John Kinley (Jake Gyllenhaal, Prisoners) and his platoon of men during the War in Afghanistan. They all have nicknames, and in their fatigues, they all look alike, so good luck remembering who any of them are at the start. It’s one thing for a war film to begin amid chaos, that is expected, but it’s another to just kick a viewer into a world with so little context as to the what, where, and why of it all. In this first stretch, the film struggles to find an identity that differentiates it from other jarhead films. During this time, we watch the all-business Kinley take on a new interpreter, Ahmed (Dar Salim, Exodus: Gods and Kings), and see how Ahmed’s experience on the fringe of Afghan society and skirting close to the Taliban makes him a great asset to the American troops. Kinley doesn’t feel that benefit at first, and the mistrusting walls he has built up don’t come down quickly. As the platoon embarks on a specialized mission that could be a significant victory for the US, they are ambushed, leaving Ahmed and an injured Kinley to evade the Taliban in a suspenseful journey across miles of treacherous country. After a rough 20 minutes in the beginning, Ritchie’s film is kickstarted by a genuinely nail-biting sequence that sets the second act into motion. In this middle passage, we see the mature director Ritchie has become over the years. Following Ahmed’s harrowing trek to bring Kinley home becomes grueling but for all the right reasons. In what could be a breakthrough role, Danish actor Salim handily steals the movie dramatically from Gyllenhaal (who chews a little too hard on the scenery for most of the film) and makes for a believable action star. I hope Hollywood takes note and thinks outside the box when casting him in the future. I’m purposefully leaving out a big part of the film in the last 45 minutes because I think it’s a tad bit of a spoiler. Previews and some marketing may have let that cat out of the bag, but in case they haven’t, I’ll let you find out what happens after Ahmed and Kinley traverse the hunters the Taliban sent out looking for them. It’s the weaker portion of the film because it adds so many other factors to the mix, like unsteady performances (and accents) from Jonny Lee Miller as Kinley’s commanding officer and Antony Starr as a soldier-for-hire Kinley teams up with. I’m not sure I fully understood the point of Alexander Ludwig’s character or whether he was a full friend or slight frenemy to Kinley. With Ludwig and the rest of the opening platoon, the film trades heavily with the type of juvenile banter you often expect to end with “No Homo” but thankfully stops short of that here. I’m not sure if it’s deliberately present in the script from Ritchie, Ivan Atkinson, and Marn Davies to make the men look Neanderthal-ish, but if it’s for comedic effect, then the jokes need some punching up. One bright spot in Guy Ritchie’s The Covenant that I wish we had more of is Emily Beecham as Kinley’s wife and mother of his children, who keeps their classic car repair shop running while he is away. Beecham deservedly won Best Actress at Cannes a few years back for Little Joe (it’s a creepy film about a hungry plant), and while she’s underutilized here, she offers one of the film’s most impactful moments. Beecham and Salim may not be the headline star, but they are the actors that leave the longest-lasting impression after the film has concluded. Where to watch Guy Ritchie’s The Covenant
28270	yago	2	67	http://www.thefutoncritic.com/news/2024/02/28/guy-ritchie-returns-to-his-gangster-roots-as-director-and-executive-producer-of-the-donovans-a-new-series-for-paramountplus-243210/20240228showtime01/	en	Breaking News - Guy Ritchie Returns to His Gangster Roots as Director and Executive Producer of "The Donovans," A New Series for Paramount+			[ "http://www.thefutoncritic.com/images/spacer.gif", "http://www.thefutoncritic.com/images/spacer.gif", "http://www.thefutoncritic.com/images/spacer.gif", "http://www.thefutoncritic.com/images/global/logo.gif", "http://www.thefutoncritic.com/images/spacer.gif", "http://www.thefutoncritic.com/images/global/bugblank.jpg", "http://www.thefutoncritic.com/images/myfuton-email.gif", "http://www.thefutoncritic.com/images/password.gif", "http://www.thefutoncritic.com/images/spacer.gif", "http://www.thefutoncritic.com/images/spacer.gif", "http://www.thefutoncritic.com/images/spacer.gif", "http://www.thefutoncritic.com/images/spacer.gif", "http://www.thefutoncritic.com/images/spacer.gif", "http://www.thefutoncritic.com/images/spacer.gif", "http://www.thefutoncritic.com/images/spacer.gif", "http://www.thefutoncritic.com/images/spacer.gif", "http://www.thefutoncritic.com/images/spacer.gif", "http://www.thefutoncritic.com/images/spacer.gif", "http://www.thefutoncritic.com/images/spacer.gif", "http://www.thefutoncritic.com/images/spacer.gif", "http://www.thefutoncritic.com/images/spacer.gif", "http://www.thefutoncritic.com/images/global/header_news.jpg", "http://www.thefutoncritic.com/images/select-date.jpg", "http://www.thefutoncritic.com/images/arrow-double-left.gif", "http://www.thefutoncritic.com/images/arrow-double-right.gif", "http://www.thefutoncritic.com/images/related-showpages.jpg", "http://www.thefutoncritic.com/images/right-breaking-news.jpg", "http://www.thefutoncritic.com/images/rss.gif", "http://www.thefutoncritic.com/images/global/advertise-on-futon.gif", "http://www.thefutoncritic.com/images/global/privacy-policy.gif", "http://www.thefutoncritic.com/images/global/site-map.gif", "http://www.thefutoncritic.com/images/global/contact-us-at.gif", "http://www.thefutoncritic.com/images/spacer.gif", "http://www.thefutoncritic.com/images/global/letters-at-the-futon.gif", "http://www.thefutoncritic.com/images/spacer.gif", "http://www.thefutoncritic.com/images/spacer.gif", "http://www.thefutoncritic.com/images/spacer.gif", "http://www.thefutoncritic.com/images/spacer.gif" ]	[]	[]	[ "" ]	null	[]	2024-02-28T00:00:00			/images/favicon.ico		null	Guy Ritchie Returns to His Gangster Roots as Director and Executive Producer of THE DONOVANS, a New Series for Paramount+ Critically Acclaimed Writer and Executive Producer Ronan Bennett will Pen All Ten Episodes - Commissioned by Showtime/MTV Entertainment Studios and Produced in Association with 101 Studios, Series will Debut on the Paramount+ with SHOWTIME(R) Plan Loosely Based on the Showtime hit RAY DONOVAN, the New Series Follows Two Generations of Gangsters, the Businesses They Run, the Complex Relationships They Weave and the Man They Call Upon to Fix Their Problems New York, NY - February 28, 2024 - Paramount+, Showtime/MTV Entertainment Studios & 101 Studios announced that Guy Ritchie will direct and executive produce The Donovans, a new series loosely based on Ray Donovan, one of the most watched SHOWTIME series of all time. Irish award-winning screenwriter, producer and novelist Ronan Bennett will pen all ten episodes. The series will debut on Paramount+ for subscribers with the Paramount+ with SHOWTIME plan later this year. With the most powerful clients in Europe, The Donovans will see family fortunes and reputations at risk, odd alliances unfold, and betrayal around every corner; and while the family might be London's most elite fixers today, the nature of their business means there is no guarantee what's in store tomorrow. "Guy Ritchie and Ronan Bennett are the ideal dream-team to create a new global hit franchise with The Donovans," said Chris McCarthy, President of Showtime/MTV Entertainment Studios. "Guy's riveting and stylish directorial approach combined with Ronan's captivating and brutally authentic writing will transfix audiences into a wild and twisted world full of new adventures." "We're elated to partner with Showtime/MTV Entertainment Studios to reimagine the Ray Donovan legacy together. Having Guy and Ronan sign on to join us on this incredible journey has been a true blessing," said David C. Glasser, CEO of 101 Studios. "We could not be more thrilled to take this huge hit and create a new and exciting show for audiences all over the world." From blockbuster success to the creation of instant cult classics, Guy Ritchie established his unique directorial brand in his breakthrough movie Lock Stock and Two Smoking Barrels. His work shares a common DNA built around exceptionally witty dialogue, stylized environments, and complex fast-paced plots. He continues to elevate his unique brand, garnering blockbuster success as director of the Sherlock Holmes franchise starring Robert Downey Jr., and Disney's Aladdin which both grossed over $1B worldwide. He wrote and directed the instant cult classic, The Gentlemen, starring Matthew McConaughey, Colin Farrell, and The Covenant starring Jake Gyllenhaal and Dar Salim. Ritchie's iconic style goes hand in hand with incredible casting and has proven to transform any project into a Ritchie classic. "I'm thrilled to be working with Showtime, Paramount+ and 101 Studios. We're going to deliver a show which provides massive thrills, entertainment and a huge rush of adrenaline for audiences around the world," said Bennett. "At the same time, I'm totally focused on exploring real characters, in body and in soul, and I'm committed to writing stories with deep dramatic impact. We're going to get under the skin of the criminal underworld, in a way which will show you the bone-deep truths of how they live and how it sometimes will - inevitably - impact on our own lives." Ronan Bennett is an award-winning screenwriter, producer, journalist and novelist, whose early life run-ins with the law underpin his gripping, authentic portrayal of crime and justice. At just 19 years old, Bennett was wrongfully convicted of murder and serving life in a maximum-security prison, until 18 months later when his conviction was overturned, following legal appeals. Bennett's harrowing experience influenced his first major work, The Catastrophist, which was shortlisted for the prestigious Whitbread Award for best novel. His distinct point of view on the criminal underworld caught the eye of Michael Mann, who commissioned Bennett to write the screenplay for Public Enemies starring Johnny Depp and Christian Bale, which became a box office success. In 2011, Bennett created, produced and wrote all episodes of Top Boy, a crime-fueled drama series chronicling drug dealing and gang violence in London - often compared to HBO's The Wire. The show went on to win multiple awards and ran for 5 seasons. Bennett is also the creator and showrunner of the highly anticipated TV adaptation of The Day of The Jackal, which stars Oscar Winner Eddie Redmayne and has been written by Bennett. Guy Ritchie is represented by Matt Saver and WME. Ronan Bennett is represented by Charles Collier, Chalcot Square and CAA. The series is executive produced by Guy Richie, Ronan Bennett, David C. Glasser, Ron Burkle, Bob Yari, David Hutkin and Ivan Atkinson. About Paramount+ Paramount+, a direct-to-consumer digital subscription video on-demand and live streaming service, combines live sports, breaking news and A Mountain of Entertainment(TM). The streaming service features an expansive library of original series, hit shows and popular movies across every genre from world-renowned brands and production studios, including BET, CBS, Comedy Central, MTV, Nickelodeon, Paramount Pictures and the Smithsonian Channel. Paramount+ with SHOWTIME(R), the service's cornerstone plan, is also home to SHOWTIME(R) content, including scripted hits and critically acclaimed nonfiction projects and films. This premium plan includes unmatched events and sports programming through the local live CBS stream, including golf, basketball and more. All Paramount+ subscribers have streaming access to CBS News Network for 24/7 news and CBS Sports HQ for sports news and analysis. For more information about Paramount+, please visit www.paramountplus.com, and follow @ParamountPlus on social media. About SHOWTIME/MTV Entertainment Studios & Paramount Media Networks SHOWTIME/MTV Entertainment Studios & Paramount Media Networks is a global network of media assets that reaches over one billion people in more than 180 countries featuring some of the most iconic brands in entertainment including SHOWTIME, MTV, Comedy Central and Paramount Network among others - and, its Studios arm which produces 120+ series annually, including some of today's biggest hits such as Yellowstone, Yellowjackets, Emily in Paris, 1883, 1923, George & Tammy, South Park, Tulsa King, RuPaul's Drag Race, The Challenge and Jersey Shore, to name a few.
28270	yago	0	2	https://www.motor1.com/news/420770/bmw-the-hire-films-remastered/	en	Watch BMW's 'The Hire' Short Films Remastered In 4K	https://cdn.motor1.com/i…-films-in-4k.jpg	https://cdn.motor1.com/i…-films-in-4k.jpg	[ "https://cdn.motor1.com/images/mgl/y0l8k/s3/bmw-films-in-4k.jpg", "https://cdn.motor1.com/images/static/1x1_2.gif", "https://cdn.motor1.com/images/static/16x9-tr.png", "https://cdn.motor1.com/images/static/16x9-tr.png", "https://cdn.motor1.com/images/static/16x9-tr.png", "https://cdn.motor1.com/images/static/16x9-tr.png", "https://cdn.motor1.com/images/static/16x9-tr.png" ]	[]	[]	[ "" ]	null	[ "Chris Bruce" ]	2020-05-08T20:43:11+00:00	A YouTube channel has increased the resolution of BMW's 'The Hire' short films from the early 2000s. Now, you can spot previously unseen details.	en	https://cdn.motor1.com/i…1/favicon-32.png	Motor1.com	https://www.motor1.com/news/420770/bmw-the-hire-films-remastered/	BMW scored a viral video hit in the early 2000s with its The Hire series of short films that put A+ talent in clips staring the brand's machines. Now, there's a fantastic opportunity to watch them again because all of the episodes are on YouTube in 4K resolution on the channel Second Wind. All of The Hire short films star Clive Owen as a character who simply goes by "The Driver." As the name of the series suggests, each episode has a person employing the wheelman to do something, and the event always happens behind the wheel of a BMW vehicle. BMW kicked off the series in 2001 with Ambush by John Frankenheimer. It proved to be one of his final directorial works before the director's passing in 2002. Season one also included entries from Oscar winners Ang Lee and Alejandro González Iñárritu. However, the most exciting entry in the first series came from director Guy Ritchie. He cast Madonna, who was his wife at the time, as a demanding celebrity. As the behest of her manager, The Driver gives the woman a wild ride while pretending to avoid paparazzi. All of this happens while Blur's "Song 2" plays. Future BMWs On The Way: While the initial series of shorts switches BMW models for each entry, the BMW Z4, which was newly introduced at the time, starred in all of the second season's episodes. There were just three entries this time, but there was still top-tier directing talent like John Woo, Joe Carnahan, and Tony Scott. The series returned in 2016 for a single-video third season. Neill Blomkamp directed this entry.
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Despite competing with heavy hitters like 3 Body Problem and Avatar: The Last Airbender, it was the biggest show on the streaming service last week. If you’re looking for more of Ritchie’s work to watch after binging the series, we have good news and bad news for you (along with a few suggestions). The good news is that Ritchie has been a prolific writer and director, having already directed 14 movies with 3 more on the way. The bad news is that those movies are frustratingly hard to find on streaming services. You’re actually going to have to rent or buy most of these movies, but in return, you’ll see some of the best action movies of the last few decades. Lock, Stock and Two Smoking Barrels (1998) Where to watch: Rent or buy on Prime Video Ritchie’s feature directorial debut — Lock, Stock and Two Smoking Barrels — is a black comedy crime film about a card shark who recruits his friends to rob a gang to pay off his enormous debt to a crime lord. It was the very first role for Jason Statham, who has gone on to star in several of Ritchie’s movies. All these years later, it’s still among Ritchie’s best work. Snatch (2000) Where to watch: MGM+, Rent or buy on Prime Video Ritchie followed up his debut with Snatch, another crime film with an impressive ensemble cast. Snatch features interconnected storylines: One about a boxing promoter (Jason Statham) under the influence of a crime boss and one about the sale of a stolen diamond. Brad Pitt stars along with Benicio del Toro, Dennis Farina, and Alan Ford. Sherlock Holmes (2009) Where to watch: Rent or buy on Prime Video There have been countless adaptations of the work of Sir Arthur Conan Doyle, but few as action-packed as Guy Ritchie’s 2009 Sherlock Holmes. Robert Downey Jr. stars as the titular detective with Jude Law taking on the role of Mr. Watson. In this adventure, Holmes and Watson have to stop the serial killer Lord Henry Blackwood, who has seemingly risen from the dead. The Gentlemen (2019) Where to watch: Rent or buy on Prime Video In case you weren’t aware, The Gentlemen (2024) is actually a spinoff of Guy Ritchie’s 2019 movie of the same name. The Gentlemen (2019) follows Mickey Pearson (Matthew McConaughey), an American expat who built a marijuana empire in London. When he decides to cash out, seedy characters from all over try to steal his empire out from under him. Wrath of Man (2021) Where to watch: Prime Video On paper, Wrath of Man certainly sounds like a quintessential Jason Statham vehicle. This recent Ritchie heist thriller is about a mysterious armored truck guard (Statham) who eventually reveals himself to be a skilled marksman on the hunt for revenge. The cast also includes Josh Hartnett, Holt McCallany, Andy Garcia, and Post Malone as a robber.
28270	yago	0	52	https://mattcraig.substack.com/p/guy-ritchie-makes-a-james-bond-movie	en	Guy Ritchie Makes A James Bond Movie In 'The Ministry Of Ungentlemanly Warfare'	https://substackcdn.com/…ad2_1000x563.png	https://substackcdn.com/…ad2_1000x563.png	[ "https://substackcdn.com/image/fetch/w_96,c_limit,f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fbucketeer-e05bbc84-baa3-437e-9518-adb32be77984.s3.amazonaws.com%2Fpublic%2Fimages%2F8f63705d-44f8-4d32-9660-2fb1a3801add_550x550.png", "https://substackcdn.com/image/fetch/w_120,c_limit,f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2F0a7bf950-e4ef-4bbe-a498-a67b7733ead2_1000x563.png", "https://substackcdn.com/image/fetch/w_120,c_limit,f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2F0a7bf950-e4ef-4bbe-a498-a67b7733ead2_1000x563.png", "https://substackcdn.com/image/fetch/w_1456,c_limit,f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2F0a7bf950-e4ef-4bbe-a498-a67b7733ead2_1000x563.png", "https://substackcdn.com/image/fetch/w_120,c_limit,f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fsubstack-post-media.s3.amazonaws.com%2Fpublic%2Fimages%2F0a7bf950-e4ef-4bbe-a498-a67b7733ead2_1000x563.png", "https://substackcdn.com/image/fetch/w_64,h_64,c_fill,f_auto,q_auto:good,fl_progressive:steep,g_auto/https%3A%2F%2Fsubstack.com%2Fimg%2Favatars%2Flogged-out.png" ]	[ "https://www.youtube-nocookie.com/embed/deccHjLBkvo?rel=0&autoplay=0&showinfo=0&enablejsapi=0" ]	[]	[ "" ]	null	[ "Matt Craig" ]	2024-04-26T10:29:32+00:00	#269: "The Ministry Of Ungentlemanly Warfare," "Shogun," "Hercules," "Shot Caller"	en	https://substackcdn.com/image/fetch/f_auto,q_auto:good,fl_progressive:steep/https%3A%2F%2Fbucketeer-e05bbc84-baa3-437e-9518-adb32be77984.s3.amazonaws.com%2Fpublic%2Fimages%2F467140a9-de8f-444b-8ee1-9ea609124ab3%2Ffavicon.ico		https://mattcraig.substack.com/p/guy-ritchie-makes-a-james-bond-movie	Edition 269: Hey movie lovers! This week: One of my favorite directors, Guy Ritchie, has a new movie out. Then we gotta talk about the series finale of Shogun, and this week’s streaming recs couldn’t be any more different from each other. In this week’s “Trailer Watch,” Zoe Kravitz is directing (!!) Channing Tatum (!!) in a murder mystery (??). The Ministry of Ungentlemanly Warfare The most obvious comparison point for Guy Ritchie’s new foul-mouthed World War II ensemble action movie was always going to be Inglorius Basterds, and to be fair, the bard of British gangster tales shares a similar flair to fellow director Quentin Tarantino. We as viewers come to each of their movies for a kind of supercharged version of reality, where punches and insults are delivered with a wink and a smirk. But after seeing the movie it’s much closer in tone and execution to a James Bond flick, dropping us in a world of international espionage spliced between people in suits barking orders from smokey, wood-paneled back rooms while more attractive people, also in suits, punch and quip their way to saving the world. That comparison is actually appropriate here, since Ian Fleming (the real-life author of the James Bond novels) is an actual character in the movie as a British intelligence officer, and we’re told in a post-credits note that the real life version of the Henry Cavill’s character in this movie was one of Fleming’s primary inspirations for the character. That coincidence seems a little too convenient, as is the branding as “the real life story of the first special forces mission.” Yes, this plot is more rooted to reality than some of Ritchie’s other works, but only barely. Cavill’s character is basically if Bond had a twirly mustache and was a savage who stuck his tongue out while killin’ Nazis. He’s got a crew of supersoldier friends, including Henry Golding (becoming a Ritchie regular) and one played by Alan Richardson who is, I kid you know, the most muscle-bound person I’ve ever seen in a movie (all respect to The Rock or what Zac Efron did for The Iron Claw…Richardson would snap them like a twig). If we’re going with the Bond theme, that makes Eiza Gonzalez the Bond girl, a part she turns into a jaw-dropper both with her beauty and her capability. This crew are basically superheroes, so even though their given a near-impossible task of crippling the German U-boat operation — enabling the United States to join the war — there’s very little worry that they’ll be able to pull it off. In fact, much of the actual action scenes, which are shot at night and therefore difficult to follow, don’t hold a viewer’s attention as much as the spycraft, which extends from Dune’s Babs Olusanmokun in Africa all the way back to Cary Elwes (as the familiar Bond role of “M”) and Rory Kinnear (who has played “M” in Bond movies, but here plays Winston Churchill). I guess what I’m saying is…this is a perfectly fine movie that only made me think one thing…when are we going to let Ritchie make a James Bond movie?!? Ritchie has put together a pretty fascinating career, bursting into Hollywood like a bare-knuckled uppercut in the late 90s and early 2000s with his incredibly specific Cockney gangster movies (Lock, Stock and Two Smoking Barrels, Snatch). He had a point of view and a style that was entirely his own, not unlike Tarantino, yet lacked some of the latter’s restraint. After a few projects failed, he gave up his auteur ambitions to become a big studio director for hire, which outside of a very good Sherlock Holmes movie gave us a run of pretty mediocre IP crap — a Sherlock Holmes sequel, The Man From U.N.C.L.E. remake, a King Arthur retelling, and most egregiously, the Aladdin live action movie. Now I’m sure he was laughing all the way to the bank, and who am I to tell him he should turn down millions, but all I know is sometimes it can be hard to watch Michael Jordan play baseball for too long. This man needed to get back to what he does best. It’s British dudes with thick accents bantering; it’s being the absolute best namer of characters in movie history (Bullet Tooth Tony, Mumbles, Franky Four Fingers…the list is endless); it’s convoluted plots with multiple factions all vying for some prize; it’s heists and double crosses and shoot-em-ups. He did it with The Gentlemen, sneakily one of my favorite movies of the 2010s, he did it on a smaller scale with the underrated Wrath of Man, he did it with this year’s adaptation of “The Gentlemen” into a series for Netflix, and he’s doing it again with The Ministry of Ungentlemanly Warfare. The Guy Ritchie Starter Pack: Snatch Lock, Stock and Two Smoking Barrels The Gentlemen Sherlock Holmes Something New Shogun (finale): In today’s TV environment viewers (myself included) are conditioned to expect a grand finale. But this show went with more of a coda than a climax. There was no big battle scene or epic showdown, it was more like “alright class what did we learn.” Initially I was pretty disappointed, because the machinations of all the political angling didn’t all coalesce into winners and losers, necessarily. But I think in my mind and others it will age really well, because it’s forced me to recontextualize everything else that came before. And what came before was easily the best TV season of the year so far (and it seems unlikely it will be dethroned). If you’re someone who waits until a show ends to see if it sticks the landing, so you know whether it’s worth jumping in (I’ve been this person before), here’s me giving this show one final giant recommendation. Impeccably acted, scripted and realized, I feel like I just spent 10 hours in feudal Japan. I know it was a mini-series but I’d gladly spend 10 more there if given the chance. Something Old Hercules (1997, Disney+): What is the best “classic” (pre-2000) Disney animated movie? One is never too old to have this conversation. After some deep thought I settled on this musical take on Greek mythology because from memory I could still recite funny lines, song lyrics and see the characters in my head, having not seen the movie in 20+ years. I can go the distance! I won’t say I’m in love! Absolute bangers. After revisiting it this week, I realize just how good of a choice I made. It’s a masterpiece of children’s programming, not patronizing young viewers but not trying to trojan horse in an adult movie for kids either (Pixar, I see you and I love you). The humor is far more clever than it needs to be, and the story is lean and tight at just 96 minutes. Plus, I challenge anyone to find a more perfect voice cast. Danny DeVito as the trainer Phil, James Woods as Hades, Rip Torn as Zeus…their line deliveries elevate every single scene by 20%. I know there’s a lot of great classic Disney animated movies out there, and I like a lot of them, but this has to take the cake. Something to Stream Shot Caller (Netflix): This hyper-masculine prison movie had been on my radar for a long time, but I convinced myself I was never quite in the right mood for the story about an innocent stock broker who gets imprisoned and ends up embracing a new identity as a ganged-up badass. It seemed like a cheap albeit entertaining B-movie. The thing I was not prepared for was just how fully realized this world of cops and robbers is. A viewer really feels like he or she is in that prison, in that gang on the outside, in that police station, understanding those cultures. The characters feel like real people, and the movie achieves that rare immersion where you’re thinking about decisions being made inside the story rather than behind the camera. Nikolaj Coster-Waldau of “Game of Thrones” fame stars in a restrained yet unbelievably good performance, flanked by Jon Bernthal, Lake Bell, Holt McCallany and a handful of other recognizable faces that ensure quality up and down the board. Without spoiling anything, I can promise you won’t predict what direction this plot is going to go, and if you can handle more than a little violence, you’ll be rewarded by one of the better streamers I’ve seen in a good long time. Trailer Watch: Joker: Blink Twice A directorial debut for Zoe Kravitz! Starring Channing Tatum?? Didn’t have that on my 2024 bingo card. This looks like an ensemble mystery thriller about a cast of young people who go on a whirlwind vacation to a billionaire’s private island, and if that sounds a bit…Epstein-y…well, that doesn’t seem too far off. Tatum is such a teddy bear I like seeing him with a sinister side, and the movie looks like it has style to go with a social message that could resonate. If this movie is as cool as Kravitz is, we’re all in for a treat.
28270	yago	0	44	https://www.rottentomatoes.com/m/guy_ritchies_the_covenant	en	Guy Ritchie's The Covenant	https://resizing.flixste…0547_p_v8_aa.jpg	https://resizing.flixste…0547_p_v8_aa.jpg	[ "https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png", "https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png", "https://www.rottentomatoes.com/assets/pizza-pie/images/rtlogo.9b892cff3fd.png", "https://resizing.flixster.com/4lJpeT-Dim19mx82y2hfV8r0aaQ=/fit-in/128x128/v2/http://resizing.flixster.com/dxT7wOWDsdx74OCY0pOn53qfmE0=/128x128/v1.YzsxMDAwMDAyNzQ3O2o7MTk5ODk7MjA0ODszMDA7MzAw", "https://resizing.flixster.com/AGN2Egoe1K2F1h223GmzNOuwZWo=/fit-in/128x128/v2/http://resizing.flixster.com/64iPJh-QG45LbueAUAEL3BLthF0=/128x128/v1.YzszOTE5O2o7MTk5ODA7MjA0ODszMTE0OzMxMTQ", "https://images.fandango.com/cms/assets/5b6ff500-1663-11ec-ae31-05a670d2d590--rtactordefault.png", "https://resizing.flixster.com/u4BW3kHUlFR4jEF5wG36QCO5GO8=/fit-in/128x128/v2/http://resizing.flixster.com/DQpCLCff9bpjyvv0V-81YbUwlcQ=/120x120/v1.YzsyMjk4O2c7MTk5ODA7MjA0ODsxMjA7MTIw", "https://resizing.flixster.com/wfiZdEI3Glw0xD8adQllW_NUcuc=/fit-in/128x128/v2/http://resizing.flixster.com/ChkOOP7ovmEx9BvwFTNp6lS7vfA=/128x128/v1.YzszNjYzO2o7MTk5ODA7MjA0ODszMDA7MzAw", "https://resizing.flixster.com/KxOntn6Wiygq3649VNj38dsh0dM=/fit-in/128x128/v2/http://resizing.flixster.com/VPtMALKIlJV9Togxx1p0a9gYsnc=/128x128/v1.YzszNDgwO2o7MTk5ODA7MjA0ODszMDA7MzAw", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg" ]	[]	[]	[ "" ]	null	[]	2023-04-21T00:00:00	Guy Ritchie's The Covenant follows US Army Sergeant John Kinley (Jake Gyllenhaal) and Afghan interpreter Ahmed (Dar Salim). After an ambush, Ahmed goes to Herculean lengths to save Kinley’s life. When Kinley learns that Ahmed and his family were not given safe passage to America as promised, he must repay his debt by returning to the war zone to retrieve them before the Taliban hunts them down first.	en	https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico	Rotten Tomatoes	https://www.rottentomatoes.com/m/guy_ritchies_the_covenant	Let's keep in touch! > Sign up for the Rotten Tomatoes newsletter to get weekly updates on: Upcoming Movies and TV shows Rotten Tomatoes Podcast Media News + More Sign me up No thanks
28270	yago	3	11	https://www.studiobinder.com/blog/what-is-post-production/	en	What is Post-Production — The Final Steps in the Process	https://s.studiobinder.c…e-Process-SG.jpg	https://s.studiobinder.c…e-Process-SG.jpg	[ "https://s.studiobinder.com/wp-content/uploads/2024/02/What-is-Post-Production-%E2%80%94-The-Final-Steps-in-the-Process-1568x882.jpg", "https://s.studiobinder.com/wp-content/uploads/2018/07/series-color.svg?resolution=1680,2", "https://s.studiobinder.com/wp-content/uploads/2018/07/series-color.svg?resolution=1680,2", "https://s.studiobinder.com/wp-content/uploads/2021/06/youtube-logo-white.svg?resolution=1680,2", "https://s.studiobinder.com/wp-content/uploads/2021/06/youtube-logo-white.svg?resolution=1680,2", "https://s.studiobinder.com/wp-content/uploads/2018/06/email-list.svg?x57987&resolution=2560,1", "https://s.studiobinder.com/wp-content/uploads/2018/06/email-list.svg?x57987&resolution=2560,1", "https://s.studiobinder.com/wp-content/uploads/2020/10/Exposure-Triangle-Ebook-The-Ultimate-Guide-Cover.png", "https://s.studiobinder.com/wp-content/uploads/2016/09/How-to-Use-Color-in-Film-Ebook-Preview-StudioBinder3x-min.png", "https://s.studiobinder.com/wp-content/uploads/2016/09/How-to-Use-Color-in-Film-Ebook-Preview-StudioBinder3x-min.png", "https://s.studiobinder.com/wp-content/uploads/2018/09/solution-shot-list.svg", "https://s.studiobinder.com/wp-content/uploads/2018/09/solution-shot-list.svg", "https://s.studiobinder.com/wp-content/uploads/2018/09/play-purple-light.svg", "https://s.studiobinder.com/wp-content/uploads/2018/09/play-purple-light.svg", "https://s.studiobinder.com/wp-content/uploads/2021/06/studiobinder-footer-logo.svg", "https://s.studiobinder.com/wp-content/uploads/2021/06/studiobinder-footer-logo.svg" ]	[]	[]	[ "" ]	null	[ "Alyssa Maio" ]	2024-02-04T16:00:21+00:00	Post-Production is the stage after production when the filming is wrapped and the editing of the visual and audio materials begins.	en	https://s.studiobinder.com/wp-content/uploads/favicon.ico	StudioBinder	https://www.studiobinder.com/blog/what-is-post-production/	Define Post-Production So, what’s post-production? The Post-Production process involves a slew of professionals — editors, sound designers, foley artists, colorists, and more. There are some standard practices that are universal across television, features, and other visual mediums. But of course, it is important to note that depending on the size of the project, its budget, and which arena you’re in (television, film, or even video games), the Post-Production process will vary. We’ll briefly define Post-Production, and get into the stages that are generally part of the process, as they relate mostly to film. Post-Production Definition What is Post-Production? Post-Production is the stage after production when the filming is wrapped and the editing of the visual and audio materials begins. Post-Production refers to all of the tasks associated with cutting raw footage, assembling that footage, adding music, dubbing, sound effects, just to name a few. The Post-Production process is highly collaborative, across a few months to even a year, depending on the size and need of the project. Film Post-Production workflow: Have reliable storage Picture editing Sound editing — ADR and Foley Secure music Sound mixing Visual effects Color correction Titles, credits, and graphics Gather distribution materials Make a trailer Now we know what Post-Production means, let’s dive into the workflow a little bit. Below is a detailed video on the Post-Production process. Post-Production pipeline explained And now let’s jump into some of those workflow details. Post-Production Workflow Post-Production process explained Once the film is shot and production is wrapped, you can finally go to bed! Just kidding. It’s Post-Production time. Whether you’re a director, producer, or editor, you’ll be involved in at least a few stages of this process. And there are quite a few stages. Let’s get into it. Is Your Footage Secure? Once you’re done shooting, before you do anything, and I mean anything, make sure you have reliable storage — a secure place to house all the footage you just spent hours shooting. It can be anything from a basic hard drive to spinning hard drives, or even RAIDs (a combination of hard drives). RAID can be installed in your computer or it can be external. It’s usually used by editors handling a lot of footage because it increases the performance and reliability of standard data storage. Before you accept a job, or before you hire an editor, make sure safe and secure storage is in place. Stage One in Post-Production It begins with picture editing Which brings us to the next most important point of them all — the editing process, more specifically, picture editing (we’ll get to sound editing soon). Your cinematographer might have some suggestions, but make sure before you hire an editor, you’re already familiar with their work. Now the editing process can begin. Here's a quick breakdown of editing techniques that an editor might use. Film Editing Explained • Subscribe on YouTube After your editor reads the script and looks at the dailies (or rushes) from the footage shot that day, they can start working their magic. They’ll likely make an Edit Decision List (EDL), cutting the film how they believe is most advantageous to the story. This is a pretty big responsibility, so make sure whoever you hire understands the tone and feel of the film ahead of time. But don’t be afraid to let them use the skills you hired them for — striking that balance will be key to telling a great visual story. Editing software like Avid, Adobe Premiere or Final Cut Pro, are recommended. Assembling footage takes time — it could take anywhere from a month and a half to several months. The first draft of the film is called a Rough Cut, and the final version will be called the Answer Print. When the director is happy with the visuals, they’ll “lock the picture,” and the sound editing can begin. Stage Two in Post-Production Next up: creating sound Once the picture is locked, it’s time for sound editing. Hire the best sound editors because a ton of work is involved. They’re responsible for assembling the audio tracks of your film, cutting dialogue tracks, removing unwanted noise, and even enhancing your movie with sound effects. The specific sound needs for that particular project will dictate who to hire. If you saw Dune, you know that the sound design is incredible. Watch this breakdown for some of the insider tricks and techniques they used. Post Production Sound in Dune • Subscribe on YouTube Sound effects are often the job of a foley artist. When the pre-recorded sound from set doesn’t sound so good, foley artists come in and recreate the sound. They watch the movie in a studio and it’s most common for them to recreate the sound of footsteps by walking on tile floors or sometimes wearing certain types of shoes to get certain sounds. They come up with clever ways to make doors slam, and bones break. Watch Foley Artists recreate sounds When actors come back into the studio and re-record dialogue over the scene, it’s called ADR, or Automated Dialog Replacement. Sound engineers and sound editors do this when the sound wasn’t captured well enough on set. But sometimes it is done for creative purposes. This is also good for scenes that require voiceovers or any other dialogue off-screen. And in animated films, of course, ADR takes up most of the “filming.” Watch Steve Martin, Rhianna, J-Lo and Jim Parsons do ADR This is also a critical time for sound editors to gather cue sheets to get ready for sound mixing a little later on. Stage Three in Post-Production Scoring or securing music It’s always best to work with a composer and have an original soundtrack for your film rather than the headache of licensing other people’s music. Of course, it is entirely possible to get the songs you want, but it does get expensive. And the Music Supervisor (who you’ll also be hiring) takes care of securing the recording and publishing rights. It costs time and money, and don’t forget about renewing those licenses down the line. Some filmmakers try different approaches. Greta Gerwig received an Oscar nomination for both her writing and directing of Lady Bird. Listen to her talk about securing the music below. Sometimes you just have to ask nicely But of course, this isn’t always possible. So, if you can, hire a musician to create an original score and save yourself a headache. Stage Four In Post-Production Sound mixing So, now that you have your music, sound effects, and re-recorded dialogue, it’s time to start layering each track on top of each other. It’s time for the Mix. Sound mixers will adjust all of the volume levels, eliminate anything too distracting, basically making sure everything sounds just right. Watch this breakdown of the opening sequence in Drive as a fantastic example of how sound mixing can be the primary storyteller. How Refn Builds Suspense with Sound • Subscribe on YouTube Stage Five In Post-Production Adding VFX Visual Effects or VFX is spearheaded by a VFX Supervisor managing a team of artists and other engineers using computer-generated imagery, or CGI, to create visuals impossible to capture on set. For instance, the dragons in Game of Thrones...definitely, and unfortunately (or fortunately?), not possible in real life. But of course, many projects will not require these effects. Game of Thrones Dragons VFX Breakdown And some visual effects are considerably smaller than dragons flying through the air, and may mean a simple explosion, otherwise too expensive or dangerous to execute during production. Tim Burton’s re-imagined, Dumbo was a more recent film that relied on visual effects. VFX brings Dumbo to life VFX artists start working once the picture is locked. This is because they work frame by frame, so it causes a real headache if they have to add extra frames, or if a shot is swapped and have to start all over. So, the editor must have all of the editing transitions and everything else complete, before VFX can really start. Stage Six in Post-Production Working with color Color correction and color grading can actually be done before VFX, but sometimes it’s done after. It really depends on what’s needed from each department. Sometimes a VFX artist does the coloring. Color is an unsung hero in visual storytelling. Watch our essay on how David Fincher uses color in his work. Color in David Fincher Movies • Subscribe on YouTube As long as the picture is locked, a colorist can go in and digitally alter the shots. They lighten frames to and adjust hues for continuity as well as to reflect the scene’s tone. For a deep dive into how to use color in film, download our FREE E-book: Free downloadable bonus FREE Download How to Use Color in Film Hue, saturation, brightness — the three elements of color that make all the difference. In this book, we'll explain the aesthetic qualities and psychology effects of using color in your images. Topics include color schemes like analogous and triadic colors and how color palettes can tell stories of their own. Stage Seven in Post-Production Generating titles, credits, graphics Next up, editors create title cards, credits, chyrons, and any graphics necessary (date stamps, etc.), and add them in. Opening credits are super important! Of course, first impressions are everything but they are also a chance to capture the tone and mood of the project. Put your best foot forward and invest some creative energy to grab your audience from the very beginning. Film Riot talks us through end credits End credits don't require nearly as much creativity (but it wouldn't hurt). That being said, what you'll need to pay attention to here is accuracy and professionalism. There are spoken and unspoken rules about how end credits work, as you'll see here with Ryan from Film Riot. Film Riot talks us through end credits You’re almost done. The project is nearly complete but there are a few more steps to consider, especially if there are distribution plans in play. Stage Eight in Post-Production Prepping for distribution Even though the Post-Production process may be coming to a close, you still need to worry about distribution. First, you'll need to make sure you have an M&E ("Music and Effects") track. If you’re trying to sell your film internationally, you’ll need to provide a sound track without English dialogue so dubbing in a different language is possible. Dialogue Script Again, if you are selling it to international buyers, you’ll need to create a script with the exact time code for every word spoken. This way the dubbing artist or person writing out the subtitles knows where to put your dialogue on screen. Digital Cinema Package (DCP) If you want to send your film out, make sure your film is on a hard drive, ready to be delivered. Create a Digital Cinema Package that has the final copy of your movie encoded so it can be distributed to theaters. Stage Nine in Post-Production Advertising your film As we said before, first impressions are everything. And the advertising of your project needs to hook people immediately. Especially considering how much content is out in the world at the moment, people are much more selective with what they watch. Campaign Image/Poster This image might be the first thing the public sees (including potential distributors or programmers), so make sure the image, credits, and tagline on your poster capture exactly what your film is about. Let's let a professional poster designer talk us through contemporary trends and some of the design considerations when approaching your project's primary advertising image. The science of movie poster design Trailer Make a one-to-two minute trailer. Though, nowadays, there are actually Trailer Editors. If you have it in the budget, let them take it over. They’re not as attached or immersed in the film, and they're coming in with fresh eyes. They have plenty of experience in pulling out the most exciting and noteworthy bits from the film. Batman Trailer Final Thoughts That's a wrap on Post-Production Again, trusting others to do their jobs well is a major requirement of the Post-Production process. Post workflow is highly collaborative and involves many different people. Find hires with proven track records if possible. And once post begins, the more freedom they each have to do what they do best, the better the film will come out. Your project may not require every one of these steps. And some steps may be moved around depending on your time, budget, or other needs. This stage in filmmaking takes time, and may be exhausting, but if you understand these basics, it’s manageable. Up Next Film festivals worth the entry fee You've mastered the Post-Production process and your film is DONE! What's next? You gotta get it in front of people and film festivals are an excellent way to do that. The trouble is...there are literally hundreds of film festivals out there and most of them aren't worth your time or money. We've narrowed the list down to the fests that are worth the entry fee and that will give your film the best chance of being seen. Up Next: Top Film Festivals →
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"https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:131-6570258-5006916:AVQW2V5JVQT6ZZCNN57K$uedata=s:%2Fuedata%2Fuedata%3Fnoscript%26id%3DAVQW2V5JVQT6ZZCNN57K:0" ]	[]	[]	[ "Guy Ritchie" ]	null	[ "IMDb" ]	null	Guy Ritchie. Director: Sherlock Holmes. Guy Ritchie was born in Hatfield, Hertfordshire, UK on September 10, 1968. After watching Butch Cassidy und Sundance Kid (1969) as a child, Guy realized that what he wanted to do was make films. He never attended film school, saying that the work of film school graduates was boring and unwatchable. At 15 years old, he dropped out of school and in 1995, got a...	en	https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/name/nm0005363/	Guy Ritchie was born in Hatfield, Hertfordshire, UK on September 10, 1968. After watching Butch Cassidy und Sundance Kid (1969) as a child, Guy realized that what he wanted to do was make films. He never attended film school, saying that the work of film school graduates was boring and unwatchable. At 15 years old, he dropped out of school and in 1995, got a job as a runner, ultimately starting his film career. He quickly progressed and was directing music promos for bands and commercials by 1995. The profits that he made from directing these promos was invested into writing and making the film The Hard Case (1995), a 20-minute short film that is also the prequel to his debut feature Bube Dame König grAS (1998). Sting's wife, Trudie Styler, saw The Hard Case (1995) and invested in the feature film. Once completed, 10 British distributors turned the film down before it eventually was released in the UK in 1998 and in the US in 1999; the film put Ritchie on the map as one of the hottest rising filmmakers of the time, and launched the careers of actors Jason Statham, Jason Flemyng, and Vinnie Jones, among others. Bube Dame König grAS (1998) was followed by Snatch: Schweine und Diamanten (2000), this time with a bigger budget and a few more familiar faces such as Brad Pitt, Dennis Farina, Benicio Del Toro alongside returning actors Jason Statham, Vinnie Jones and Jason Flemyng. At the end of 2000, Ritchie married the pop superstar Madonna in Scotland, and proceeded to work with his famous wife on a variety of film and video projects, including the short Star (2001), made for BMW and co-starring Clive Owen, and the controversial video "What It Feels Like for a Girl," which was called out for its violence. In 2002, the couple embarked on a remake of the 1974 Lina Wertmüller film Stürmische Liebe - Swept away (2002); the new film was a critical and commercial flop, winning five Razzie Awards. Ritchie followed up with the Vegas heist film Revolver (2005), which was panned, but won favor with the crime thriller RocknRolla (2008), which featured a game, energetic cast and brought American attention to rising stars Gerard Butler and Tom Hardy. The next year saw the release of Sherlock Holmes (2009), starring Robert Downey Jr. in the title role and Jude Law as his cohort Dr. Watson. The film received mostly good reviews but, more important for Ritchie's career, was a solid blockbuster hit that grossed more than $520 million dollars worldwide and spawned a sequel, Sherlock Holmes - Spiel im Schatten (2011). Ritchie is tentatively scheduled to direct an adaptation of Robert Louis Stevenson's Treasure Island. Ritchie has two sons with Madonna: Rocco, born in 2000, and an adopted son, David, born in 2005. In late 2008, the couple confirmed reports that they were splitting up, and agreed to a divorce settlement that was finalized in December of that year. In September 2011, Ritchie's girlfriend, model Jacqui Ainsley, gave birth to a son, Rafael, and in July 2012 the couple announced they were expecting their second child.
28270	yago	0	64	https://www.pinterest.com/pin/experience-the-excitement-of-bmw-films-the-hire--268245721525642643/	en		https://s.pinimg.com/web…x48-7470a30d.png	https://s.pinimg.com/web…x48-7470a30d.png	[]	[]	[]	[ "" ]	null	[]	2012-05-17T10:34:28+00:00	The Hire is a series of short films made by BMW together with some of the worlds best directors.Ticker - starring Clive Owen and the BMW Z4. Directed by Joe ...	en	https://s.pinimg.com/web…144-3da7a67b.png	Pinterest	https://www.pinterest.com/pin/experience-the-excitement-of-bmw-films-the-hire--268245721525642643/
28270	yago	2	92	https://www.digitaltrends.com/movies/we-need-to-stop-taking-guy-ritchie-movies-for-granted/	en	We need to stop taking Guy Ritchie for granted	https://www.digitaltrend…e=1200%2C630&p=1	https://www.digitaltrend…e=1200%2C630&p=1	[ "https://www.digitaltrends.com/wp-content/uploads/2024/04/Guy-Ritchie-looks-at-a-monitor-on-the-set-of-The-Gentlemen.jpg?fit=720%2C480&p=1", "https://www.digitaltrends.com/wp-content/uploads/2024/04/The-cast-of-The-Ministry-of-Ungentlemanly-Warfare-sit-and-stand-on-a-boat-together-e1713539084527.jpg?fit=720%2C479&p=1", "https://www.digitaltrends.com/wp-content/uploads/2023/04/Dar-Salim-and-Jake-Gyllenhaal-sit-in-a-humvee-together-in-The-Covenant.jpg?fit=720%2C480&p=1", "https://www.digitaltrends.com/wp-content/uploads/2024/03/The-Gentlemen-Theo-James-1-e1710299593351.jpg?fit=720%2C479&p=1", "https://www.digitaltrends.com/wp-content/uploads/2024/04/Kaya-Scoledario-stands-next-to-Theo-James-in-The-Gentlemen.jpg?fit=720%2C480&p=1", "https://www.digitaltrends.com/wp-content/uploads/2022/09/IMG-4987.jpg?resize=200%2C200&p=1", "https://www.digitaltrends.com/wp-content/uploads/2024/08/KEEPBREATHING_101_Unit_00238RC.jpg?resize=650%2C390&p=1", "https://www.digitaltrends.com/wp-content/uploads/2024/08/Aaron-Taylor-Johnson-in-Kraven-the-Hunter.jpg?resize=650%2C390&p=1", "https://www.digitaltrends.com/wp-content/uploads/2024/07/bad-monkey-vince-vaughn.jpg?resize=650%2C390&p=1", "https://www.digitaltrends.com/wp-content/themes/dt-stardust/assets/images/svg/logo-dtmg.svg" ]	[]	[]	[ "Entertainment", "action movies", "Guy Ritchie", "Netflix", "The Gentlemen", "The Ministry of Ungentlemanly Warfare" ]	null	[ "Alex Welch" ]	2024-04-23T09:30:46-07:00	Guy Ritchie, director of The Gentlemen and The Ministry of Ungentlemanly Warfare, deserves more praise than he gets.	en	https://www.digitaltrend…it=144%2C144&p=1	Digital Trends	https://www.digitaltrends.com/movies/we-need-to-stop-taking-guy-ritchie-movies-for-granted/	Few directors have had a more prolific past five years than Guy Ritchie. The filmmaker, once known best for his late 1990s/early 2000s British gangster movies, has fully completed his transition from scrappy upstart to reliable studio director. He began that journey in the late 2000s and continued it throughout the 2010s when he agreed to direct films like Sherlock Holmes, King Arthur: Legend of the Sword, and — in one of the strangest creative decisions in Hollywood history — Disney’s live-action Aladdin. There were multiyear gaps between a few of those movies, though, and all four of his 2010s titles (including 2015’s The Man from U.N.C.L.E.) were connected, in some form or another, to a preexisting piece of intellectual property. This decade, Ritchie’s already released five movies: The Gentlemen, Wrath of Man, Operation Fortune: Ruse de Guerre, The Covenant, and The Ministry of Ungentlemanly Warfare. On top of that, he’s already made a sixth (2025’s In the Grey) and written and directed multiple episodes of The Gentlemen, a Netflix series he created based on his 2019 film of the same name. After spending 10 years floating through the world of high-budget IP filmmaking, Ritchie has turned himself into his own industry that produces at least one action movie a year. Recommended Videos None of his most recent films boast the same verve and attitude of the movies he made a name for himself with, but they’ve all been more entertaining and lighter on their feet than most of the franchise blockbusters Hollywood releases nowadays. He’s proven that mid-budget action filmmaking can still be a worthwhile and viable endeavor for both studios and directors to pursue. Unfortunately, he hasn’t received the proper credit or praise that he deserves. The director as showman There’s something incredible about watching a Guy Ritchie movie. No matter what, you know you’re in for a good time. After spending the first 20 years of his career climbing up the Hollywood food chain and getting used to working with budgets of varying sizes, Ritchie has honed the most basic tools of action filmmaking. He’s built the kind of simple, straightforward toolbox for himself that every director used to have, and he’s spent the past five years using it to make movies that are lean, engaging, visually legible, and refreshingly well-paced. None of Ritchie’s recent films have overstayed their welcome, nor have they taken cheap shortcuts that render their action sequences incomprehensible. At all times, whether it be in a military drama like The Covenant or a period dramedy like The Ministry of Ungentlemanly Warfare, Ritchie feels in control of the movie he’s made. That adds a level of comfort — a sense of security that you’re in capable hands — to the act of watching his movies. In certain instances, you may end up wishing that Ritchie had pushed himself and his films harder, but you’ll never be bored in his movies or leave them unsatisfied. Ritchie hasn’t lost his edge Earlier this year, Ritchie extended his talents to the small screen — overseeing the eight-episode first season of The Gentlemen, an absurdist modern-day crime series that has no business being as good as it is. Its first two episodes, which Ritchie directed and co-wrote, look great and move at a pleasingly brisk tempo. The show won’t be winning any awards anytime soon, but its charismatic cast, stylish direction, and ensemble of well-drawn characters make it feel reminiscent, in many ways, of Snatch and Lock, Stock, and Two Smoking Barrels. It proves that Ritchie hasn’t lost his edge — and it’s as immediately watchable as any other TV show released so far this year. Upon first glance, none of this may seem particularly worthy of praise. However, in a day and age where it feels like the films Ritchie has spent his recent years making (i.e., original, modestly sized thrillers) are a dying breed, the work he’s doing right now isn’t just welcome, but invaluable. He’s crafted a handful of memorable, yet lightweight action flicks in a shockingly short amount of time, as well as an instantly likable Netflix series, and he’s made doing so look gobsmackingly easy. If that doesn’t make him a filmmaker worth celebrating right now, what does?
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"https://images.justwatch.com/icon/316534780/s100/amazonprimevideowithads.jpg", "https://www.justwatch.com/images/icon/52449539/s100/amazonprime.{format}", "https://www.justwatch.com/images/icon/316534780/s100/amazonprimevideowithads.{format}", "https://www.justwatch.com/images/icon/207360008/s100/netflix.{format}", "https://www.justwatch.com/images/icon/301462744/s100/netflixbasicwithads.{format}", "https://www.justwatch.com/images/icon/313118777/s100/disneyplus.{format}" ]	[]	[]	[ "" ]	null	[ "Jack Seale" ]	2024-03-22T21:19:56.591000+00:00	Every film and television series directed or created by Guy Ritchie, including The Gentlemen and Snatch, plus where to stream them online in the right order.	en	/appassets/favicon.ico	JustWatch	https://www.justwatch.com/uk/guide/guy-ritchie-movies-and-series-in-order	In 2023, Guy Ritchie celebrated 25 years as a feature film director. His reputation has risen and fallen a couple of times along the way, but he’s still here and, with Netflix’s The Gentlemen, he’s successfully hopped aboard the bandwagon of converting films to streaming TV series. Find out how to watch all Ritchie’s work in chronological order with our streaming guide below. Ritchie arrived in 1998 with the low-budget gangster comedy-drama Lock, Stock and Two Smoking Barrels, which featured several of the motifs that would re-occur throughout the director’s career: a performance by Jason Statham, who was then unknown; another by Vinnie Jones, who was previously known only as a footballer; and an interest in the wisecracking but bumbling low-lifes populating the criminal underworld in London. Ritchie cannily followed up this cult hit by making basically the same movie again, but with bigger stars: Snatch retained Statham and Jones in its cast, adding Brad Pitt as an indecipherable Irishman and Benicio del Toro as a gambler/thief named Frankie Four-Fingers. Ritchie was by now a star, all the more so for having married Madonna in the year Snatch was released. At this point, his golden touch deserted him, with his first critical mauling coming for Swept Away, an island castaway movie with Madonna in the lead. Ritchie then returned to his roots with the crime capers Revolver and RocknRolla, starring Jason Statham and Gerard Butler respectively. Neither was as well received as his first two films, but Ritchie was still in the game, and his next move hustled him into a new area of mass-market movie-making: he helmed 2009’s Sherlock Holmes and its 2011 sequel, Sherlock Holmes: A Game of Shadows, with Robert Downey Jr as Holmes and Jude Law as Watson. Both were chunky box-office hits. Ritchie now had a second string to his bow, as an overseer of reboots and reimaginings. Neither The Man from U.N.C.L.E. nor King Arthur: Legend of the Sword, his next two movies, made anywhere near as much money as their studios were hoping. But Ritchie bounced back again when he took charge of the live-action remake of Aladdin, released in cinemas in 2011. Starring Will Smith as the genie, Aladdin was a billion-dollar smash. Soon after, Ritchie also restored his knack for creating naughty thrillers about chaps committing crimes: The Gentlemen recruited Matthew McConaughey, Colin Farrell and Hugh Grant to the Ritchie repertory, telling a tall tale about American drug dealers coming up against old-fashioned British wrong’uns. Ritchie then reunited with Jason Statham for action thriller Wrath of Man and spy comedy Operation Fortune. The more serious war drama The Covenant was loved more by critics than by audiences, for the first time in Ritchie’s career - the same can’t be said of The Gentlemen, an unpretentious TV spin-off from Ritchie’s own movie that debuted on Netflix in 2023. Good or bad, successful or flop, Guy Ritchie’s films always aim primarily to entertain, and he did that again in 2024 with The Ministry of Ungentlemanly Warfare. To watch all his work in the order it was released, check out our streaming guide below.
28270	yago	0	72	http://www.tasteofcinema.com/2017/all-9-guy-ritchie-movies-ranked-from-worst-to-best/	en	All 9 Guy Ritchie Movies Ranked From Worst To Best	http://www.tasteofcinema.com/wp-content/uploads/2017/08/snatch-brad-pitt.jpg	http://www.tasteofcinema.com/wp-content/uploads/2017/08/snatch-brad-pitt.jpg	[ "https://www.tasteofcinema.com/wp-content/uploads/2017/08/snatch-brad-pitt.jpg", "https://www.tasteofcinema.com/wp-content/uploads/2013/11/swept-away-2002-1.jpg", "https://www.tasteofcinema.com/wp-content/uploads/2017/08/The-Man-from-U.N.C.L.E.-2015.jpg", "https://www.tasteofcinema.com/wp-content/uploads/2014/03/revolver-sorter.jpg", "https://www.tasteofcinema.com/wp-content/uploads/2017/04/King-Arthur-Legend-of-the-Sword.jpg", "http://www.tasteofcinema.com/wp-content/plugins/subscription-options/images/rss_transparent.png", "http://www.tasteofcinema.com/wp-content/plugins/subscription-options/images/email_transparent.png", "http://www.tasteofcinema.com/wp-content/plugins/subscription-options/images/twitter_transparent.png", "http://www.tasteofcinema.com/wp-content/plugins/subscription-options/images/facebook_transparent.png", "http://www.tasteofcinema.com/wp-content/uploads/2018/10/halloween-horror-movie-lists.jpg", "http://www.tasteofcinema.com/wp-content/uploads/2018/10/best-2018-movies-so-far.jpg", "http://www.tasteofcinema.com/wp-content/uploads/2017/09/best-2017-movies-so-far.jpg", "http://www.tasteofcinema.com/wp-content/uploads/2017/09/surprisingly-good-2017-movies.jpg", "http://www.tasteofcinema.com/wp-content/uploads/2017/11/overrated-actors-2.jpg", "http://www.tasteofcinema.com/wp-content/uploads/2017/09/most-complex-movies.jpg", "http://www.tasteofcinema.com/wp-content/uploads/2014/12/best-philosophical-movies.jpg", "http://www.tasteofcinema.com/wp-content/uploads/2016/08/best-movies-about-loneliness.jpg", "http://www.tasteofcinema.com/wp-content/uploads/2014/10/visually-stunning-films.jpg", "http://www.tasteofcinema.com/wp-content/uploads/2015/11/best-japanese-animated-movies.jpg", "http://www.tasteofcinema.com/wp-content/uploads/2015/02/best-psychedelic-movies.jpg", "http://www.tasteofcinema.com/wp-content/uploads/2014/11/best-dystopian-movies.jpg", "http://www.tasteofcinema.com/wp-content/uploads/2014/04/best-psychological-thrillers.jpg", "http://www.tasteofcinema.com/wp-content/uploads/2014/06/best-westerns.jpg", "http://www.tasteofcinema.com/wp-content/uploads/2018/04/Manos-The-Hands-Of-Fate-1966_.jpg", "http://www.tasteofcinema.com/wp-content/uploads/2014/01/disturbing-horror-movies.jpg", "http://www.tasteofcinema.com/wp-content/uploads/2014/01/write-for-us.jpg" ]	[]	[]	[ "" ]	null	[]	2017-08-09T05:23:29-08:00	Born on September 10, 1968, Guy Ritchie was once looked to as the British Quentin Tarantino for his energetic crime films, snappy dialogue and pop culture s	en	http://www.tasteofcinema.com/wp-content/uploads/2019/06/cropped-icon-32x32.jpg	Taste of Cinema - Movie Reviews and Classic Movie Lists	http://www.tasteofcinema.com/2017/all-9-guy-ritchie-movies-ranked-from-worst-to-best/	Born on September 10, 1968, Guy Ritchie was once looked to as the British Quentin Tarantino for his energetic crime films, snappy dialogue and pop culture soundtracks. The 90s were booming with independent filmmakers looking to make their mark, and the success and influence of films like “Goodfellas” and “Pulp Fiction” especially left a trail of influences and imitators. Ritchie was one of the few who took that influence and made it his own with his early films that were steeped in British flavour and stylings. And although his career reached heavy lows soon after, which many people attribute to his union with a certain pop star, there’s no denying that Ritchie is a great filmmaker if backed with the right material. It may be disappointing that for the last couple of years he’s been a director for hire working on big budget adaptations, but even Tarantino moved on from crime films after “Jackie Brown” while Ritchie stayed with his trademarks past their prime. In fact, he’s never written any original films that weren’t steeped in crime. His films always have an infectious energy that pulls you in even if the story doesn’t, that same infectious British energy that directors Edgar Wright and Danny Boyle possess. With nine films to date, Ritchie’s filmography can be pretty hit or miss, but there are some gems to be found. 9. Swept Away (2002) It’s interesting that some director/actress couples who work together sometimes fail, and seeing this remake of Lina Wertmuller’s far superior film proves why. The critical backlash made Madonna (Ritchie’s then wife) swear to never act again, which could be a good thing depending on who you ask. A box office bomb and Razzie Award darling, they should hand out awards to any who’s able to finish this shipwreck in one sitting. Shipwrecked on an island with his boss, a rich, self-centred millionaire’s wife named Amber (Madonna), first mate Giuseppe (Adriano Giannini) turns the tables on her when she has to rely on him for food (among other things), which he uses to make her serve him, which ends one of the most unconvincing from hate-to-love romances. There isn’t a single enjoyable thing about the film aside from the locations, so kudos to Mother Nature for that. None of the excitement or visual flair Ritchie showed in his other films is present. The script does the actors no favours. Madonna may be an alright actor depending on what she’s given, but the script writes Amber as a hateful, evil, self-centred and irritating character and Madonna embraces all this, going “full retard” (well, not full retard but full annoying). By the time her character does a 180, it’s hard to care because there isn’t a redeeming thing about her and it’s hard to believe her change, her feelings or anyone falling for her. This brings to Giannini’s dull performance as well. Ritchie is at his most uncharacteristic and boring and any other synonym that goes along with it. The heart, depth or politics of the original are nowhere to be found and what we get is a paper-thin vanity project that’s right up there (or down there) with “Gigli”. 8. The Man from U.N.C.L.E. (2015) Continuing Ritchie’s ‘successful’ relationship with Warner Bros., “The Man from U.N.C.L.E.” looks pretty and features some great performances, but that’s pretty much it. Based on the 60’s television series, the film follows Henry Cavill’s Napoleon Solo and Armie Hammer’s Illya Kuryakin, two agents from the United States and Russia who have to work together at the height of the Cold War to face a greater threat. They first need to find the daughter of a missing German scientist, keep her safe, and help her contact her relatives to understand the threat the globe may face. The film is the classic example of style over substance and is a huge disappointment for what could’ve been accomplished. Ritchie’s directing seems off from the opening moments. His quick pace usually adds to the excitement of the film and characters but here it just trudges along on auto mode. He speeds past interesting scenarios and misses the chance to fully transport the viewer. While there are some beautiful locations and costumes, the film gets pretty repetitive and boring as it moves on. Some of the masterful action sequences ultimately add nothing to the overall picture. The performances are okay but the talented cast has nothing to really work with. There’s no chemistry between Cavill and Hammer and the script may try to make their partnership more interesting than it really is. Overall, Ritchie seems to be going through the motions on this one and it shows in the finished product that should’ve been better than what we ultimately get. 7. Revolver (2005) After the terrible “Swept Away”, Ritchie returned to his crime films with Jason Statham and his full set of hair in a revenge thriller that’s more mature and ambiguous than his earlier classics. While serving a seven year sentence for a crime he didn’t commit for crime boss Macha (Ray Liotta), Jake Green (Statham) acquires an unbeatable formula which he uses successfully to get wealthy once he gets out. He turns his attention toward getting revenge from Macha, who’s put out a hit on him, and is offered protection by two brothers who plan to acquire Macha’s empire. Going into this film one expects the return to the witty black comedy and all out craziness of “Lock, Stock and Two Smoking Barrels” and “Snatch” but what we get is a more meditative film that’s less engaging and tough to understand. There isn’t as much violence or action as those two or any memorable characters aside from Mark Strong’s scene stealing performance. Even the coolness of Statham can’t save the film from being a dull. The problem comes with Liotta’s overacting in a thong and tanning booth, and Outkast’s miscast Andre Benjamin. The characters seem to think they’re more interesting than they actually are. Some say it’s a misunderstood film that requires repeat viewings, but it mostly reeks of pretentiousness. Building a cult following over the years, it’s one of those films you either get or get bored to death with. Still, the courage to try something different and challenging is admirable. 6. King Arthur: Legend of the Sword (2017) Ritchie’s latest film in another studio attempt at launching a new franchise didn’t go so well. On screen and at the box office, “King Arthur” sees the director’s energetic style get the best of him at times but is still an entertaining yarn. A new incarnation of the classic legend, Charlie Hunnam plays the titular hero who’s unaware of his legacy until fate leads him to Excalibur, which he draws from the stone. He soon sets out to defeat Jude Law’s King Vortigern, who murdered his parents and robbed him of his birthright. Ritchie’s fast-paced action style may have worked well with “Sherlock Holmes” but with “King Arthur” it becomes a little too much. The film barely takes a second to breathe or to indulge in its characters, which mostly end up being stereotypes or caricatures. Some of the action scenes fly by so fast you can barely keep up or know what’s going on. The script (as it mostly is with these types of studio films) is the greatest flaw; it comes across as convoluted and uneven at times. Then there’s the acting which is mostly serviceable, aside from Law who steals every scene he’s in. Hunnam is also great as King Arthur. The cinematography, set design, costumes and special effects are all ace, but it just doesn’t have that magic to elevate it to something greater. The movie’s true MVP, however, is Daniel Pemberton, whose infectious, fist-pumping score is one the best heard this year. With more fantasy than any of Ritchie’s or King Arthur’s previous adventures in film, “Legend of the Sword” isn’t as bad as everyone says it is. It’s still a fun two hours aside from its many flaws and shortcomings.
28270	yago	2	10	https://www.reelviews.net/search/director/guy-ritchie	en	Movies directed by Guy Ritchie	https://www.reelviews.net/favicon.png	https://www.reelviews.net/favicon.png	[ "https://www.reelviews.net/resources/img/settings/reelviews-logo.png", "https://www.reelviews.net/resources/img/posters/thumbs/aladdin_poster.jpg", "https://www.reelviews.net/resources/img/posters/thumbs/gentlemen_poster.jpg", "https://www.reelviews.net/resources/img/posters/thumbs/covenant_poster.jpg", "https://www.reelviews.net/resources/img/posters/thumbs/king_arthur_poster.jpg", "https://www.reelviews.net/resources/img/default_poster.jpg", "https://www.reelviews.net/resources/img/posters/thumbs/uncle_poster.jpg", "https://www.reelviews.net/resources/img/posters/thumbs/ministry_poster.jpg", "https://www.reelviews.net/resources/img/posters/thumbs/operation_poster_1.jpg", "https://www.reelviews.net/resources/img/default_poster.jpg", "https://www.reelviews.net/resources/img/movies/thumbs/rocknrolla.jpg", "https://www.reelviews.net/resources/img/partners/bfca-logo.gif", "https://www.reelviews.net/resources/img/partners/partner2.jpg", "https://www.reelviews.net/resources/img/partners/partner4.jpg" ]	[]	[]	[ "Movie", "Movie Reviews", "Entertainment" ]	null	[ "James Berardinelli" ]	null	On Reelviews you can find extended reviews and ratings for movies directed by Guy Ritchie, including thoughts on the world of cinematography by James Berardinelli.	en	https://www.reelviews.net/favicon.png	Reelviews Movie Reviews	null	Aladdin Perhaps the most appropriate word to describe Disney’s 2019 re-make of their 1992 classic, Aladdin, is “unnecessary.” “Pointless” might also apply. Although those terms could be employed for a host of remakes, they are more apt here ... Gentlemen, The For any Downton Abbey fans desirous of hearing Lady Mary Crawley drop the f-bomb, Guy Ritchie has you covered. Not only does Michelle Dockery spew profanity with enough frequency and vigor to keep up with her numerous male co-stars, but she kn... Guy Ritchie's The Covenant The Covenant offers Guy Ritchie an opportunity to step out of his comfort zone and try something with more substance than is usual for him. Gone are the snarky one-liners and zingers that have become his trademarks. And, although there’s certain... King Arthur: Legend of the Sword The most important name associated with this new telling of the tale of King Arthur is “Guy Ritchie.” More than most working directors, Ritchie comes to projects with his own specific take on them – one that inevitably rubs some viewers ... Lock, Stock and Two Smoking Barrels The tale of Lock, Stock, and Two Smoking Barrels is the most improbable of success stories. After having difficulty securing a financial backer, Guy Ritchie's debut feature became one of the biggest home-grown successes in the U.K. last year. Now... Man from U.N.C.L.E., The 17 years ago, the film industry dusted off a popular 1960s spy show, created a bloated, big-screen iteration with stars like Ralph Fiennes, Sean Connery, and Uma Thurman, and watched it implode at the box office. Terrible reviews and public indiffere... Ministry of Ungentlemanly Warfare, The In his famous 1944 speech to the Third Army, General George S. Patton said the following: “The Nazis are the enemy. Wade into them. Spill their blood. Shoot them in the belly.” I don’t know whether director Guy Ritchie thought of those w... Operation Fortune: Ruse de Guerre Operation Fortune: Ruse de guerre represents the second consecutive collaboration (and fifth overall) between director Guy Ritchie and actor Jason Statham. My main complaint about their 2021 effort, Wrath of Man, was related to the somber tone. For... Revolver Revolver had its world premiere at the 2005 Toronto Film Festival, some 27 months before finding its way into a small number of U.S. multiplexes. If that says nothing else, it's that distributors shied away from the film, fearing its complete lack... RocknRolla Guy Ritchie made his mark for film-goers not by marrying one of the world's most visible pop stars, but by crafting Lock, Stock and Two Smoking Barrels and Snatch. He exploded onto the cinematic scene with the former; the reaction from Hollywood wa...
28270	yago	2	47	https://www.tomsguide.com/entertainment/streaming/best-guy-ritchie-movies	en	7 best Guy Ritchie movies, ranked	https://cdn.mos.cms.futu…iqAo-1200-80.jpg	https://cdn.mos.cms.futu…iqAo-1200-80.jpg	[ "https://vanilla.futurecdn.net/tomsguide/media/shared/img/flags/nosize/US.svg", "https://vanilla.futurecdn.net/tomsguide/media/shared/img/flags/nosize/AU.svg", "https://vanilla.futurecdn.net/tomsguide/media/shared/img/flags/nosize/GB.svg", "https://vanilla.futurecdn.net/tomsguide/media/shared/img/flags/nosize/US.svg", "https://vanilla.futurecdn.net/tomsguide/media/shared/img/flags/nosize/CA.svg", "https://mos.fie.futurecdn.net/logos/models/hlwce5dqzq4wsnmg-16040076574048.jpeg", "https://cdn.mos.cms.futurecdn.net/NStMbpckEmdzEtCq73iqAo-320-80.jpg", "https://images.fie.futurecdn.net/logos/networks/x4mavtpdopla3hjg-15735685231975-100-80.png", "https://images.fie.futurecdn.net/logos/networks/i2sugv8sipbctrqt-15470432987395-100-80.png", "https://images.fie.futurecdn.net/logos/label_options/sag2fvcsm49u5ckn-16129661876264-100-80.png", "https://images.fie.futurecdn.net/logos/label_options/1zjxvpqkwtr2xfnr-16148765076361-100-80.png", "https://imp.pxf.io/i/221109/1617618/9358", "https://vanilla.futurecdn.net/cyclingnews/media/img/missing-image.svg", "https://vanilla.futurecdn.net/cyclingnews/media/img/missing-image.svg", "https://vanilla.futurecdn.net/cyclingnews/media/img/missing-image.svg", "https://vanilla.futurecdn.net/cyclingnews/media/img/missing-image.svg", "https://vanilla.futurecdn.net/cyclingnews/media/img/missing-image.svg", "https://vanilla.futurecdn.net/cyclingnews/media/img/missing-image.svg", "https://vanilla.futurecdn.net/cyclingnews/media/img/missing-image.svg", "https://vanilla.futurecdn.net/cyclingnews/media/img/missing-image.svg", "https://vanilla.futurecdn.net/cyclingnews/media/img/missing-image.svg", "https://vanilla.futurecdn.net/cyclingnews/media/img/missing-image.svg", "https://vanilla.futurecdn.net/cyclingnews/media/img/missing-image.svg", "https://vanilla.futurecdn.net/cyclingnews/media/img/missing-image.svg", "https://vanilla.futurecdn.net/cyclingnews/media/img/missing-image.svg", "https://vanilla.futurecdn.net/cyclingnews/media/img/missing-image.svg", "https://vanilla.futurecdn.net/cyclingnews/media/img/missing-image.svg", "https://vanilla.futurecdn.net/cyclingnews/media/img/missing-image.svg", "https://sb.scorecardresearch.com/p/?c1=2&c2=10055482&cv=4.4.0&cj=1" ]	[]	[]	[ "" ]	null	[ "Dan Girolamo" ]	2024-04-28T10:30:00+00:00	Our picks for the best Guy Ritchie movies include "Sherlock Holmes" and "Snatch"	en	https://vanilla.futurecd…e-touch-icon.png	Tom's Guide	https://www.tomsguide.com/entertainment/streaming/best-guy-ritchie-movies	Trying to explain Guy Ritchie’s career is a fascinating task. The English filmmaker rose to prominence in the late 90s and early 2000s with crime capers, including “Lock, Stock and Two Smoking Barrels” and “Snatch.” After a series of misfires — notably “Swept Away” starring his then-wife Madonna — Ritchie transitioned to big-budget films, anchored by two “Sherlock Holmes” films. It’s almost inconceivable that the filmmaker behind “Snatch,” a gritty gangster comedy, also directed “Aladdin,” a fantasy blockbuster backed by Disney. Ritchie has proven his trademark style works in many genres, from B-movies to studio films. Quick-witted dialogue, unrestrained characters, and high-energy action are engrained in Ritchie’s filmography. Not everything works, but every Ritchie movie is unapologetically him, backed by his distinct, in-your-face filmmaking style. With the release of “The Ministry of Ungentlemanly Warfare,” we ranked Ritchie’s seven best films. 7. 'Guy Ritchie’s The Covenant' Don’t let the poor box office results confuse you — “Guy Ritchie’s The Covenant” is a solid war film with a compelling premise. Jake Gyllenhaal stars as U.S. Master Sergeant John Kinley, while Dar Salim plays Ahmed, the interpreter assigned to Kinley’s unit in Afghanistan. After a devastating injury to Kinley, Ahmed risks his life to transport the sergeant to safety through Taliban-occupied areas. Weeks later, Ahmed and his family are now the target of the Taliban, forcing Kinley to go back to Afghanistan to save his friend. While Ritchie’s films are typically comedic crime capers, “The Covenant” is surprisingly emotional, with a heavy message about the U.S. government's failure to protect translators. Politics aside, “The Covenant” is a satisfying watch, backed by the chemistry between Gyllenhaal and Salim. Watch on Prime Video 6. ‘Wrath of Man’ “Wrath of Man” is a reunion for Ritchie and star muse Jason Statham, marking their first film together in 16 years. Based on the French film “Cash Truck,” “Wrath of Man” stars Statham as Patrick “H” Hill, an Englishman who takes a job in security as an armored truck guard. When assailants attempt to steal the money from the truck, H disposes of the crew easily thanks to his elite marksman skills. H is not a typical security guard. He took this job for one reason: to exact revenge on those who wronged him. On the surface, “Wrath of Man” seems like the perfect film for Ritchie’s style. It’s a heist film featuring a macho, tough-guy protagonist hellbent on vengeance. Yet, “Wrath of Man” does not include the snappy dialogue and colorful characters of Ritchie’s previous films. This is arguably Ritchie’s darkest film, with little humor. It’s a welcome surprise for Ritchie, proving he can direct a serious action thriller. Watch on Prime Video 5. ‘Sherlock Holmes’ What if Sherlock Holmes was an action hero? That question is the basis for how Ritchie adapted Sir Arthur Conan Doyle’s iconic character. Starring in the role of the illustrious detective is Robert Downey Jr., who injects attitude, wittiness, and personality into Holmes. In other words, it’s Downey being Downey, a.k.a., the most charming man in the room. Starring alongside him is Jude Law as Dr. John Watson, Holmes’s right-hand man. Their mission: to find and stop Lord Blackwood (Mark Strong), a murderer using supernatural means to terrorize London. While detective work is secondary to the action, “Sherlock Holmes” rests on the capable shoulders of Downey and Law, whose humor and chemistry make for a compelling duo. It also proved that Ritchie could deliver when given a studio budget, setting the stage for the next decade of his career. Watch on Apple TV Plus 4. ‘The Gentlemen’ Before becoming a popular TV series on Netflix, “The Gentlemen” was a film that premiered just before the start of the pandemic. Matthew McConaughey stars as Mickey Pearson, an American entrepreneur who became a marijuana kingpin in London. When Mickey wants to sell his business and retire with his wife, several menacing figures, including “Dry Eye” (Henry Golding), attempt to undermine and steal his empire. After a decade-long drought, “The Gentlemen” signaled Ritchie's return to the genre that put him on the map. “The Gentlemen” plays like a greatest hits album for Ritchie, with nonlinear storytelling, sharp and edgy dialogue, and distinguishable characters. All in all, Ritchie’s fans will be satisfied with "The Gentlemen." Rent/buy on Amazon or Apple 3. ‘Lock, Stock and Two Smoking Barrels’ “Snatch” perfected Ritchie’s crime caper technique, but “Lock, Stock and Two Smoking Barrels” provided the blueprint for his success. Serving as Ritche’s feature film directorial debut, “Lock, Stock and Two Smoking Barrels” finds four friends (Jason Statham, Dexter Fletcher, Nick Moran, and Jason Flemyng) in serious debt after losing a high-stakes poker game. Desperate for money, the four lads hear their neighbors planning to steal money from drug dealers. Once the neighbors execute the robbery, the quartet plans to rob their neighbors of the money they stole. Upon its release, Ritchie drew comparisons to Quentin Tarantino. Some similarities – crime caper, standout dialogue, and rambunctious characters – between the two directors are fair comparisons. However, Ritchie’s 20-plus-year career has proved to audiences that his signature style can stand on its own, and it all started with “Lock, Stock and Two Smoking Barrels.” Rent/buy on Amazon or Apple 2. ‘The Man from U.N.C.L.E.’ “The Man from U.N.C.L.E.” is Ritchie’s version of James Bond. The stylish espionage film is based on the television series from the 1960s. Set during the Cold War, “The Man from U.N.C.L.E.” stars Henry Cavill as CIA agent Napoleon Solo, and Armie Hammer as KGB agent Illya Kuryakin (Armie Hammer). The two agents form an uneasy alliance and work with Gaby Teller (Alicia Vikander), the daughter of a kidnapped nuclear scientist, to stop a criminal organization from building a nuclear bomb. While many of Ritchie’s films focus on bromance, adding a woman to form a tricky love triangle proved to be a winning combination. “The Man from U.N.C.L.E.” is beautiful to watch, from the style and scenery to the cars and fashion. Because of the disappointing box office, “The Man from U.N.C.L.E.” is one of Ritchie’s most underrated films, one worthy of a sequel. Rent/buy on Amazon or Apple 1. ‘Snatch’ This is Ritchie’s magnum opus. Everything audiences have come to love about Ritchie is at its highest form in “Snatch.”In London’s criminal underworld, “Snatch” revolves around two intertwined plots. One involves Turkish (Jason Statham), a boxing promoter who gets into trouble with crime lord Brick Top (Alan Ford) after one of his boxers, the erratic Mickey O’Neil, fails to throw a fight. The other plot involves a diamond heist with eccentric characters like Frankie Four Fingers (Benicio del Toro) and Bullet Tooth Tony (Vinnie Jones). Ritchie’s hallmarks are scattered throughout “Snatch,” from memorable characters with unique names to nonlinear storytelling and animated dialogue. Ritchie took what worked in “Lock, Stock and Two Smoking Barrels” and multiplied it by ten. It’s extravagant and excessive in the best way. No one makes comedy crime capers better than Ritchie. Bonus points to anyone who understands a single thing Pitt says. Watch on Prime Video More From Tom's Guide
28270	yago	0	48	https://www.washingtonexaminer.com/opinion/beltway-confidential/3019274/guy-ritchies-flashy-007-film/	en	The Ministry of Ungentlemanly Warfare: Guy Ritchie’s flashy 007 film	https://www.washingtonex….jpg.optimal.jpg	https://www.washingtonex….jpg.optimal.jpg	[ "https://www.washingtonexaminer.com/wp-content/uploads/2023/11/2023-examinar-logo.webp", "https://www.washingtonexaminer.com/wp-content/uploads/2023/11/2023-examinar-logo-500.webp", "https://www.washingtonexaminer.com/wp-content/uploads/2024/05/2023-Examiner-logo-white-color-eagle-1.webp" ]	[]	[]	[ "" ]	null	[ "Harry Khachatrian", "www.facebook.com" ]	2024-05-29T12:43:32-04:00	Hot off the heels of his wildly successful Netflix series The Gentlemen, filmmaker Guy Ritchie’s latest project is effectively his version of a James Bond film.	en	https://www.washingtonex…avicon-32x32.png	Washington Examiner - Political News and Conservative Analysis About Congress, the President, and the Federal Government	https://www.washingtonexaminer.com/opinion/beltway-confidential/3019274/guy-ritchies-flashy-007-film/	An adaptation of Damien Lewis’s 2014 nonfiction book about Operation Postmaster, the film features Ian Fleming, a British intelligence officer in 1942, conspiring with Prime Minister Winston Churchill to derail Germany’s U-boat supplies. As the story goes, this mission, and its designated leader, Gus March-Phillips, formed the basis for what would later become the James Bond literary franchise. Donning a cartoonish accent that complements the film’s broadly unserious and lighthearted tone, Henry Cavill plays March-Phillips. He’s a maverick combatant with a blithe attitude toward authority and a proclivity for violence, the stereotypical rogue gun you hire to do your dirty work. The Germans have cleverly established their supply chain in neutral territory, making it impossible for the United Kingdom to attack without expanding the Axis’s allies. “Hitler’s not playing by the rules, so why should we?” asked an embattled Churchill, portrayed serviceably by Rory Kinnear, evoking Churchill’s oratory cadence and his finely tailored three-piece suits. This early scene, in which Churchill debriefs March-Phillips on the unsanctioned U-boat mission, is a testament to Ritchie’s filmmaking prowess. It tells you everything you need to know about the character without wasting time divulging any extraneous backstory. While some soldiers may be humbled or overwhelmed in the private company of Churchill, March-Phillips, when asked to pour himself a cup of tea, instead reaches for the scotch, pouring himself a glass before proceeding to stuff his pockets with the prime minister’s cigars. With his mission in hand, March-Phillips proceeds to recruit a team of similarly violent and mischievous misfits. His No. 2 is Anders Lassen. Played by Reacher’s Alan Ritchson, he sports a hulking frame of such proportions that it manages to make Cavill, the former Superman actor, appear tame in contrast. Bereaved over the murder of his brother at the hands of the Gestapo, Lassen, in a highly cartoonish Swedish accent, has made it his vocation to maim and dismember Nazis in increasingly entertaining ways. Ritchson and Cavill share an obvious chemistry, trading witty banter as they revel in their violent craft of weeding out the Nazi ranks. Although the clandestine sleuthing is often eschewed in favor of maximizing Nazi carnage, parallels to 007 are palpable throughout the film. March-Phillips and his crew must evade detection of both the Allied forces and the Nazis — and given that they can only shoot their way out of an encounter with the latter, they err toward danger. Colored by Ritchie’s recognizable flashy style and wry humor, the film feels far more authentically English than most recent Bond movies. Loosely based on real characters and events, The Ministry of Ungentlemanly Warfare is about as historically accurate as Quentin Tarantino’s Inglourious Basterds, the film’s closest aesthetic parallel. Historical epics such as Saving Private Ryan have their place, but it is a shame we don’t have more action spy comedies based on World War II fables. Whether it is Sgt. Donny Donowitz (The Bear Jew) or Swedish bodybuilding butcher Anders Lassen, watching virile mercenaries mow down Nazis with vigor is never tiring. CLICK HERE TO READ MORE FROM THE WASHINGTON EXAMINER Aside from its triumphs in this department, Ritchie also astutely conveys the importance of Churchill’s unnerving determination to fight. Outnumbered by liberal politicians who persist for peace at any price, which they see as appeasement to Hitler, he doggedly responds, “It isn’t appeasement, it’s surrender. Hitler is evil and must be defeated.” It is daunting to ponder the ramifications of a lesser man at the helm of Britain in the face of this adversity. There have been years of speculation about who the future Bond may be. Though it has been confirmed that Cavill won’t land the role, his portrayal of its progenitor in The Ministry of Ungentlemanly Warfare is an indulgent treat from Ritchie, and arguably a better film than most recent Bond movies.
28270	yago	1	7	https://the-jh-movie-collection-official.fandom.com/wiki/Guy_Ritchie	en	Guy Ritchie	https://static.wikia.nocookie.net/the-jh-movie-collection-official/images/e/e6/Site-logo.png/revision/latest?cb=20210714135828	https://static.wikia.nocookie.net/the-jh-movie-collection-official/images/e/e6/Site-logo.png/revision/latest?cb=20210714135828	[ "https://static.wikia.nocookie.net/the-jh-movie-collection-official/images/e/e6/Site-logo.png/revision/latest?cb=20210714135828", "https://static.wikia.nocookie.net/the-jh-movie-collection-official/images/0/0e/6000px-Flag_of_the_United_Kingdom.svg.png/revision/latest/scale-to-width-down/100?cb=20190202154028", "https://static.wikia.nocookie.net/the-jh-movie-collection-official/images/4/46/1920px-Commons-logo.svg.png/revision/latest/scale-to-width-down/30?cb=20181130225010", "https://static.wikia.nocookie.net/ff185fe4-8356-4b6b-ad48-621b95a82a1d", "https://static.wikia.nocookie.net/f3fc9271-3d5e-4c73-9afc-e6a9f6154ff1", "https://static.wikia.nocookie.net/464fc70a-5090-490b-b47e-0759e89c263f", "https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668" ]	[]	[]	[ "" ]	null	[ "Contributors to The JH Movie Collection's Official Wiki" ]	2024-07-29T22:27:06+00:00	Guy Stuart Ritchie (born 10 September 1968)[1][2] is an English film director, film producer, screenwriter, and businessman, known for his British gangster films. He left secondary school and got entry-level jobs in the film industry in the mid-1990s. Ritchie eventually went on to direct...	en	/skins-ucp/mw139/common/favicon.ico	The JH Movie Collection's Official Wiki	https://the-jh-movie-collection-official.fandom.com/wiki/Guy_Ritchie	English filmmakerTemplate:SHORTDESC:English filmmaker This article might be using a British English for its pagename. (December 2014) Guy Stuart Ritchie (born 10 September 1968)[1][2] is an English film director, film producer, screenwriter, and businessman, known for his British gangster films. He left secondary school and got entry-level jobs in the film industry in the mid-1990s. Ritchie eventually went on to direct commercials. In 1995 he directed his first film, The Hard Case, a 20-minute short that impressed investors who backed his first feature film, the crime comedy Lock, Stock and Two Smoking Barrels (1998). He then directed another cockney crime comedy, Snatch (2000). Ritchie's other crime films include Revolver (2005) and RocknRolla (2008). His British set gangster films have featured emerging stars, such as Jason Statham, Idris Elba and Tom Hardy.[3] He then directed Sherlock Holmes (2009), its sequel Sherlock Holmes: A Game of Shadows (2011) and the live-action adaptation of Disney's Aladdin (2019). Early life[] Ritchie was born in Hatfield, Hertfordshire,[2] the second of two children of Amber (née Parkinson) and Captain John Vivian Ritchie (b. 1928), former Seaforth Highlanders serviceman and advertising executive. John's father was Major Stewart Ritchie, who died in France, in 1940, during World War II.[4] John's mother was Doris Margaretta McLaughlin (b. 1896), daughter of Vivian Guy McLaughlin (b. 1865) and Edith Martineau (b. 1866), the latter by whom he shares close common ancestors with Catherine, Duchess of Cambridge.[5] The McLaughlins have a pedigree going back to King Edward I of England.[6][7] Both Ritchie's parents remarried to prominent individuals. His father's second marriage was to Shireen Ritchie, Baroness Ritchie of Brompton, a former model and later Conservative politician and life peer.[8] From 1973 until 1980, when they divorced, Ritchie's mother was married to Sir Michael Leighton, 11th Baronet of Loton Park.[9] As a divorcée, she is correctly styled as Amber, Lady Leighton.[10] Ritchie, who is dyslexic, was expelled from Stanbridge Earls School at the age of 15.[2] He has claimed that drug use was the reason for the expulsion; his father has said that it was because his son was caught "cutting class and entertaining a girl in his room."[11] In addition to his elder sister Tabitha, a dance instructor, Ritchie has a half-brother, Kevin Baynton, who was born to Amber Parkinson when she was a teenager and given up for adoption.[12] Directing career[] In 1998, Ritchie contacted Peter Morton, of the Hard Rock Cafe chain, as a potential investor for a debut film. Morton's nephew, Matthew Vaughn, had been studying film production in Los Angeles. Peter informed Vaughn of Ritchie's new film idea, and Vaughn agreed to produce. Matthew, John, Guy and Peter asked their mutual acquaintance, Trudie Styler, to invest in the production of Ritchie's second film production following his 1995 short The Hard Case, which Styler had seen and decided that co-funding the project would be a worthwhile opportunity. The production of the film, Lock, Stock and Two Smoking Barrels, was completed in about eight months. Released in Great Britain in 1998 to positive reviews, it became an international success. It starred Nick Moran and also introduced actors Jason Statham, Jason Flemyng and Dexter Fletcher to worldwide audiences, while launching a new acting career for former footballer Vinnie Jones. Ritchie was introduced to Madonna, whom he would later wed, when the soundtrack for the film was issued on her Maverick Records label. In 2000 Ritchie won an Edgar Award from the Mystery Writers of America for Best Motion Picture Screenplay. Ritchie created and produced a spin-off television series called Lock, Stock....[13] Ritchie's second feature film, Snatch, was released in 2000. Originally known as Diamonds, it was another caper comedy, with a cast including Brad Pitt, Benicio del Toro and Dennis Farina, along with the returning Statham and Vinnie Jones. Similar to Lock, Stock and Two Smoking Barrels the film depicted events from different characters' perspectives: a device which became something of a trademark through many of the director's subsequent films. It has a rating of 73% on Rotten Tomatoes as of 2015.[14] Following his marriage to Madonna, Ritchie began focusing his filmmaking on his wife, directing her in both a music video (for the song "What It Feels Like for a Girl", a controversial video that showed Madonna engaging in violent behaviour, directed at men, including T-boning a car with three men in it, tasering and robbing a man at an ATM, scratching a police car and shooting two officers with a water gun, driving her car through a group of men playing street hockey and incinerating a man by throwing a lighter into a pool of gasoline) and a short film, Star, for the BMW films series. Ritchie's next film, also featuring Madonna, was a remake of the 1974 Lina Wertmüller hit Swept Away (also entitled Swept Away). Ritchie cast Madonna as a rich, rude socialite who, after a shipwreck, is trapped on a deserted island with a slovenly Communist sailor who humiliates her. Ritchie renamed the woman Amber Leighton after his mother. This film was both a critical and commercial disappointment.[15] In 2002, Ritchie conceived a hidden camera show called Swag,[16] for Channel Five in the UK, which turned the table on criminals and opportunists by using stunts to trap them in the act. His next project in 2005, a Vegas-themed heist film entitled Revolver starring Jason Statham, was critically panned in the US and UK.[17][18] In 2008, Ritchie wrote and directed RocknRolla, a more successful return to crime comedy form with an ensemble cast including Gerard Butler, Tom Wilkinson, Thandie Newton, Mark Strong, Idris Elba, Tom Hardy, and Toby Kebbell. It was generally received well with a 60% rating on Rotten Tomatoes.[19] He also directed in 2008 a commercial for Nike called "Take It To The Next Level", about a young Dutch footballer who signs for Arsenal, showing the progression of his career from his viewpoint, until he makes his debut for the Netherlands. The commercial features cameo appearances from some football players with music by Eagles of Death Metal.[20] Ritchie's Sherlock Holmes was released on 25 December 2009 with Robert Downey Jr. and Jude Law starring as Sir Arthur Conan Doyle's classic detective and his indispensable friend Dr. Watson in a distinctly comic action-oriented updating. The film received generally positive reviews[21] and grossed more than $520 million worldwide,[22].[23] The sequel, Sherlock Holmes: A Game of Shadows, was released on 16 December 2011 and earned an even higher worldwide box office of over $545 million.[24] In June 2012, it was announced that Ritchie would direct an adaptation of Treasure Island by Robert Louis Stevenson.[25] On 29 October that year, he produced a game trailer for Call of Duty: Black Ops II.[26] Ritchie directed Warner Bros.' The Man From U.N.C.L.E.[27] as a fairly radical remake of the popular 1960s spy TV series. Filmed in 2013 in London and Italy,[28][29] the film was not released until August 2015.[30] In January 2014, Warner Bros. set Ritchie to direct King Arthur: Legend of the Sword[31] with Charlie Hunnam playing King Arthur by Ritchie's choice.[32] Initially scheduled to be the first of several in a franchise, the film was released in May 2017 but was a box office bomb, so the sequels were cancelled.[33] The Raindance Film Festival announced in August 2017 that it would honour Ritchie with its 2nd annual Auteur Award, describing him as a "prominent figure" who breathed "new life into the British film industry" with his "cult crime comedies."[34] Most recently, Ritchie directed Disney's live action adaptation of Aladdin (2019), which he co-wrote with John August. Starring Will Smith, Mena Massoud and Naomi Scott, the film became Ritchie's most successful film financially.[35] Personal life[] Ritchie started training in Shotokan karate at the age of seven at the Budokwai in London, where he later achieved a black belt in both Shotokan and Judo.[36] He also has a black belt in Brazilian Jiu-Jitsu under Renzo Gracie.[37] On 18 May 2000, Ritchie was arrested by the police for an alleged assault on a 20-year-old man outside the Kensington home he shared with American singer Madonna, on suspicion of causing actual bodily harm.[38] On 22 December 2000, Ritchie married Madonna at Skibo Castle in Scotland.[39] They have a son, Rocco John Ritchie (born 11 August 2000 in Los Angeles) and adopted a Malawian baby boy in 2006, David (born 24 September 2005). Madonna eventually filed for divorce from Ritchie in October 2008, citing irreconcilable differences.[40] On 15 December 2008, Madonna's spokeswoman announced that the singer had agreed to a divorce settlement with Ritchie, the terms of which grant him between £50–60 million ($Template:To USD–Template:To USD million), a figure that includes the value of the couple's London pub and Wiltshire estate in England. This would be one of the largest divorce settlements in British history. [41] Madonna and Ritchie issued a joint statement calling the previous announcement "misleading and inaccurate." The financial details of the settlement remained private.[42] Their marriage was dissolved by District Judge Reid by decree nisi at the clinical Principal Registry of the Family Division in High Holborn, London. Madonna and Ritchie entered into a custody agreement for Rocco and David, then aged eight and three, respectively, and divided the children's time between Ritchie's London home and Madonna's in New York, where the two were joined by her daughter Lourdes, from a previous relationship.[43][44] In February 2011, a £6m house he owns in London's Fitzrovia was occupied briefly by members of The Really Free School, a squatter organisation.[45][46] On 30 July 2015, Ritchie married model Jacqui Ainsley, whom he had been dating since 2010.[47] They have three children: son Rafael (born 5 September 2011),[48] daughter Rivka, (born 29 November 2012)[2] and son Levi (born 8 June 2014).[47] Ritchie can speak Hebrew.[49] Filmography[] Year Film Director Writer Producer Notes 1995 The Hard Case Yes Yes No Short film 1998 Lock, Stock and Two Smoking Barrels Yes Yes No Also casting director 2000 Snatch Yes Yes No 2001 Star Yes Yes No Segment from the BMW short film series The Hire, Co-written with Joe Sweet 2002 Swept Away Yes Yes No Golden Raspberry Award for Worst Director Nominated – Golden Raspberry Award for Worst Screenplay 2005 Revolver Yes Yes No 2008 RocknRolla Yes Yes Yes 2009 Sherlock Holmes Yes No No Nominated – Saturn Award for Best Director 2011 Sherlock Holmes: A Game of Shadows Yes No No 2015 The Man from U.N.C.L.E. Yes Yes Yes 2017 King Arthur: Legend of the Sword Yes Yes Yes 2017 Thumbelina Yes Yes No 2019 Aladdin Yes Yes No TBA The Gentlemen Yes Yes Yes Post-production Uncredited cameos[] Year Film Role 2000 Snatch Man Reading Newspaper 2008 RocknRolla Man riding bicycle 2017 King Arthur: Legend of the Sword Inn Owner References[] [] Template:Twitter Guy Ritchie on IMDb Template:Guy Ritchie
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"https://cst.brightspotcdn.com/dims4/default/e174be2/2147483647/strip/true/crop/8192x4598+0+0/resize/490x275!/quality/90/?url=https%3A%2F%2Fchorus-production-cst-web.s3.us-east-1.amazonaws.com%2Fbrightspot%2F51%2Fbd%2Fdda0424a446ab63244b7ba72614b%2Fdw5a2577.jpg 1x,https://cst.brightspotcdn.com/dims4/default/5478900/2147483647/strip/true/crop/8192x4598+0+0/resize/980x550!/quality/90/?url=https%3A%2F%2Fchorus-production-cst-web.s3.us-east-1.amazonaws.com%2Fbrightspot%2F51%2Fbd%2Fdda0424a446ab63244b7ba72614b%2Fdw5a2577.jpg 2x", "https://cst.brightspotcdn.com/79/58/a46f4fd64384aa7eee1395f1ba0f/ctimes-logo-inverse.svg", "https://cst.brightspotcdn.com/93/60/c8f7be154fd78be7b231449214ec/cpm-logo-footer.svg" ]	[ "https://www.youtube.com/embed/gnpfKsqeMrM?feature=oembed" ]	[]	[ "" ]	null	[ "Richard Roeper", "chicago.suntimes.com", "richard-roeper" ]	2024-03-05T00:00:00	Based on the 2020 Guy Ritchie film, violent show stars Theo James as a newcomer to England's upper-class weed wars.	en	/apple-touch-icon.png	Chicago Sun-Times	https://chicago.suntimes.com/movies-and-tv/2024/03/05/the-gentlemen-review-netflix-series-theo-james-guy-ritchie-kaya-scodelario	Guy Ritchie’s slick and sly and darkly funny Netflix series “The Gentlemen” is a spinoff of Ritchie’s crackling good crime comedy/drama feature film of the same name from 2020, but don’t expect any cameos from Matthew McConaughey or Charlie Hunnam or Michelle Dockery or Hugh Grant or anyone else from the movie. We’re still in the same world, i.e., an England in which lucrative cannabis labs operate under the estates of aristocrats who need the fat cash influx to keep running their monstrously large homes. From that jumping point, the series introduces a whole new set of characters from a myriad of locales and backgrounds who have one thing in common: They’re all willing to do whatever it takes, whether it’s scheming and double-crossing or using fists, swords, knives, guns, etc., to eliminate the competition and/or exact revenge. An eight-episode series available Thursday on Netflix. Also, as you’d expect from the prolific and provocative filmmaker behind “Snatch,” “The Man from U.N.C.L.E.,” the Robert Downey Jr. “Sherlock Holmes” movies, etc., “The Gentlemen” is filled with cheeky humor, sweeping camera movements, callbacks to previous plot developments and the occasional use of a graphic that spells out definitions and sometimes does some convenient math for us. It’s a complex and layered story, but it’s also relatively easy to keep track of the various bounders and cads and gangsters and high-society wolves in sheep’s clothing maneuvering to gain control of the cannabis market. Theo James, fresh off his Emmy-nominated turn on “The White Lotus,” is perfectly cast as the leading-man-handsome and born-to-the-manor yet hardnosed Eddie Hornaman, a British Army captain in charge of a UN outpost who is summoned home because his father is dying. And when we say “home,” we mean enormous estate, as Eddie’s dad is the Duke of Halstead. To the outrage of the oldest son, the coke-addled, impetuous and entirely unreliable Freddy (Daniel Ings), the reading of the will reveals that dear old pops has skipped over Freddy and left everything, including his title and the run of the manor, to Eddie. He’s a duke now, and everyone calls him “your grace.” Nice! No sooner has Eddie wrapped his mind around this development when he’s hit with two other surprises: (a) Freddy is $8 million in debt to a ruthless clan of Liverpool drug-dealing gangsters, and (b), speaking of drugs, there’s a thriving marijuana plantation underneath the dairy farm. It’s one of a dozen such underground labs spread throughout England, all run by the stylish and droll and quite dangerous Susie Glass (Kaya Scodelario), who rarely makes a move without consulting her father, the mob boss of mob bosses Bobby (the great Ray Winstone), who is serving a long prison sentence but has a posh setup that puts to shame Paul Sorvino’s cell in “Goodfellas.” For the run of the series, Eddie keeps talking about how he wants to separate from the mob and get out of the pot-growing business, but as the blood spills frequently and often in creative fashion, it turns out Eddie has a real knack for this sort of thing. At times, Eddie and Susie make for a formidable team, and there’s no denying the electric chemistry they share; just as often, they’re at odds, with each not trusting the other, and for good reason. Even when we’re not spending screen time with the two leads, “The Gentlemen” never lags, as it boasts a fascinating array of supporting characters. Giancarlo Esposito is Stanley Johnston, a meth kingpin who loves the finer things in life, from bespoke suits to million-dollar wine collections; think Gus Fring, only with an extra couple of zeros in his bank account. Vinnie Jones is Geoff, the gamekeeper of Halstead Manor who knows all and sees all; he’s kind of like Carson from “Downton Abbey,” only with shotguns. Michael Vu is the horticulturalist Jimmy, who is high on his own supply 24/7, which leads to some really bad decisions. We’re also introduced to Irish travelers, a Nazi sympathizer, a money-laundering fight promoter, a crazed and machete-wielding luxury car dealer, and let’s just say not everyone is getting out of this adventure alive. In typical Guy Ritchie fashion, the action often turns absurdist, e.g., when a certain character loses it while wielding a shotgun worth six figures and wearing a chicken suit. There are times when “The Gentlemen” wanders off into the woods and we get a little impatient waiting for the gears to grind again, but thanks in large part to the sharp writing and the stellar performances from Theo James and Kaya Scodelario and the entire ensemble, this is a worthy addition to the Guy Ritchie library of stylish and violent crime thrillers.
28270	yago	0	88	https://www.kmuw.org/movie-review/2021-05-13/movie-review-guy-ritchies-wrath-of-man-is-wildly-unexpected	en	Movie Review: Guy Ritchie's 'Wrath Of Man' Is Wildly Unexpected	https://npr.brightspotcdn.com/dims4/default/8e51cdd/2147483647/strip/true/crop/681x358+0+13/resize/1200x630!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Flegacy%2Fsites%2Fkmuw%2Ffiles%2F202105%2Fwrath_of_man.jpeg	https://npr.brightspotcdn.com/dims4/default/8e51cdd/2147483647/strip/true/crop/681x358+0+13/resize/1200x630!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Flegacy%2Fsites%2Fkmuw%2Ffiles%2F202105%2Fwrath_of_man.jpeg	[ "https://npr.brightspotcdn.com/dims4/default/7844f27/2147483647/strip/true/crop/236x60+0+0/resize/472x120!/quality/90/?url=https%3A%2F%2Fnpr.brightspotcdn.com%2Fdims4%2Fdefault%2F8381de8%2F2147483647%2Fresize%2Fx60%2Fquality%2F90%2F%3Furl%3Dhttp%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F32%2Fac%2Feff08e604a63a4b43856668da2b5%2Fkmuw-npr.png 2x", "https://npr.brightspotcdn.com/dims4/default/7844f27/2147483647/strip/true/crop/236x60+0+0/resize/472x120!/quality/90/?url=https%3A%2F%2Fnpr.brightspotcdn.com%2Fdims4%2Fdefault%2F8381de8%2F2147483647%2Fresize%2Fx60%2Fquality%2F90%2F%3Furl%3Dhttp%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F32%2Fac%2Feff08e604a63a4b43856668da2b5%2Fkmuw-npr.png 2x", "https://npr.brightspotcdn.com/dims4/default/3f57861/2147483647/strip/true/crop/681x383+0+0/resize/1760x990!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Flegacy%2Fsites%2Fkmuw%2Ffiles%2F202105%2Fwrath_of_man.jpeg 2x", "https://npr.brightspotcdn.com/dims4/default/4fd20c6/2147483647/strip/true/crop/546x728+244+0/resize/150x200!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F06%2F17%2Fa6d3050c4519a1131b64499f90ba%2Ffletcher-photo-220321.png", "https://npr.brightspotcdn.com/dims4/default/c595a23/2147483647/strip/true/crop/1276x844+112+0/resize/260x172!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Flegacy%2Fsites%2Fkmuw%2Ffiles%2F202105%2FTOGETHER-TOGETHER.jpeg 2x", "https://npr.brightspotcdn.com/dims4/default/82ebc76/2147483647/strip/true/crop/384x60+0+0/resize/400x62!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Fbc%2F43%2F2e801e934027ad6cba38e3d316aa%2Fcomm-discussion-guidelines.png 2x", "https://npr.brightspotcdn.com/dims4/default/16af79e/2147483647/strip/true/crop/60x60+0+0/resize/100x100!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F34%2F5f%2F0dddc7ba459d8b3cdae0f3f5fd50%2Ffacebook-cicle.png 2x", "https://npr.brightspotcdn.com/dims4/default/5b94deb/2147483647/strip/true/crop/60x60+0+0/resize/100x100!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2Fb0%2Fec%2F31eb5560486cbb354aae47aaf081%2Ftwitter-circle-0.png 2x", "https://npr.brightspotcdn.com/dims4/default/74caaed/2147483647/strip/true/crop/60x60+0+0/resize/100x100!/quality/90/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F94%2F2b%2F76a8761d47138e058a9b0f72dbc7%2Finstragram-circle-0.png 2x" ]	[]	[]	[ "" ]	null	[ "Fletcher Powell", "www.kmuw.org", "fletcher-powell" ]	2021-05-13T00:00:00	As I watched Jason Statham take the elevator down at the end of Guy Ritchie’s bleak new crime film Wrath of Man, I thought of another movie-ending…	en		KMUW	https://www.kmuw.org/movie-review/2021-05-13/movie-review-guy-ritchies-wrath-of-man-is-wildly-unexpected	As I watched Jason Statham take the elevator down at the end of Guy Ritchie’s bleak new crime film Wrath of Man, I thought of another movie-ending elevator ride, the one that closes the exceedingly disturbing 1987 Mickey Rourke / Robert DeNiro horror-mystery Angel Heart. And I wished there were something to hint at an even more grim possibility in Ritchie’s already-grim movie. Statham, known to us for most of the movie simply as “H,” is certainly a kind of angel of vengeance, although there’s no real indication he’s anything supernatural, other than the fact that of course you can’t kill him. Or if there is an indication, it’s such a slight wisp of an idea that it only really exists in me, wondering if Ritchie meant for this elevator ride to look this way. None of which is a criticism, just what was floating through my head as I watched Ritchie not quite stick the landing in his very-good-not-quite-great revenge tale, a dark, brooding film with neon-bright flaws I was willing to look past. Wrath of Man opens, as every movie should, with a heist. And as will be the case for much of the first half of the film, we’re not quite sure what’s going on, with the camera held stationary inside an armored truck, while something is happening outside. How this all went down, and what it all means, will be revealed later in the film, but for now, it’s happened, and soon after Statham, as “H,” shows up as a new hire at the armored truck company that was assaulted. It’s clear something is up with him, that we have no idea what his story really is despite what he tells his employers, and that it’s a bit suspicious that he performs just well enough on his entrance tasks to qualify for the job, but not so well as to raise any eyebrows. We do spend much of the first half of the movie in the dark, figuratively and tonally, while we wonder what H is up to, and when it all starts to be revealed, it’s frankly pretty confusing, at least for a bit. It makes sense eventually. Mostly. But it’s also thoroughly absorbing. This mystery of H is kicked up by Statham’s ability to stay steely and stoic, giving away nothing, not even a hint of whether he’s planning a heist of his own, looking to thwart one, or something else entirely. Ritchie’s usual zippy stylistic tricks are almost all gone here, and while he hasn’t fully mastered this bleak tone, he drives it hard and with a confident dark energy. The performative hyper-masculinity of Ritchie’s characters in earlier films is there, but this time, it feels sad and lays bare how much each character is drastically overcompensating for their lack of power. This is a welcome departure from Ritchie playing that masculine posturing for sometimes-questionable laughs, but unfortunately that departure doesn’t extend to his knack for godawful dialogue, some of which is so bad here that you wonder if it’s somehow self-aware in a way you can’t figure out, and it makes you question if the rest of the film is actually as good as you think it is. One thing you never question, though, is Statham. His charisma is off the charts; it’s rare you see someone who provides so few expressions and says so few words, but who you can’t tear your eyes from. Which is, it turns out, a double-edged sword, as it becomes apparent just how important he is to the film when Ritchie departs from him for long stretches in the middle, as we learn about the people H is actually after, and what they did to deserve what’s coming. Even if you hadn’t realized the gravitational force of Statham’s presence before, it’s all too noticeable when he’s not on the screen, and the movie suffers for it. For all the mystery in the first half of the film, though, once we know what’s happening, we also know how it will all turn out. This is not necessarily a problem—watching it happen, these very bad men doing very bad things, it does seem like Ritchie is taking it seriously. The action is brutal, he doesn’t seem to be trying to impress us with his style, and H exacting his revenge is just what we want out of this. Except—now we arrive back at the end. It ends as it must, as we expect, but Ritchie elides so much between the climactic violence and H’s ultimate vengeance that it feels as if he’s just lost interest a bit. Yes, we know where we’re headed, we know this is what will happen, but perhaps give us just a bit more about how we got from there to here? Or, anything at all? That H is essentially indestructible, we know, and so we don’t need a map, but a little bit of something to fill in the gap would have made it feel less like Ritchie was simply carrying out his duty to finish the movie. And when we’re left with gaps, we fill them in ourselves, and end up wondering about supernatural beings and cinematic quotes that may not exist.
28270	yago	2	29	https://www.screendaily.com/news/guy-ritchie-to-direct-prime-videos-young-sherlock-series-starring-hero-fiennes-tiffin/5194117.article	en	Guy Ritchie to direct Prime Video’s ‘Young Sherlock’ series starring Hero Fiennes Tiffin	https://d1nslcd7m2225b.c…itchie_59726.jpg	https://d1nslcd7m2225b.c…itchie_59726.jpg	[ "https://www.facebook.com/tr?id=1787080818148630&ev=PageView&noscript=1", "https://www.facebook.com/tr?id=3254793074533493&ev=PageView&noscript=1", "https://www.screendaily.com/magazine/dest/graphics/logo/print_logo.png", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/9/8/1/1429981_scottishstarscropped_658002.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/5/2/5/1429525_locarnodigicropped_364027.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/0/6/8/1427068_croppedcoversot_899857.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/5/1/4/1430514_megalopolisoriginalsize_463695_crop_crop.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/5/1/6/1430516_ff7c285303bc8e1bb60419c5ed73a81a_958094.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/9/8/5/1429985_dwellingamongthegods_106734.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/9/6/4/1429964_mothermara_2846.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/1/2/3/1430123_content_150182.jpeg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/0/9/1/1430091_jovan_258747.jpeg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/6/9/0/1428690_nightimeexterior_109206_crop.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/7/1/3/1430713_53940899168_296e43ee9e_c_531102.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/7/9/8/1430798_coralineclaika_463717_crop.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/7/8/1/1430781_21_912882.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/6/1/1/1430611_insideout2cdisneypixar_754789_crop.jpeg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/6/9/6/1430696_content1_658122.jpeg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/3/8/4/1430384_sexcrossing_649958.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/274x183/5/8/9/1429589_megryan_744959_crop.jpeg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/450xAny/P/web/j/b/m/2021screenpackshot_967117.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/480xAny/8/8/8/1424888_guyritchie_59726.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/100x67/7/8/1/1430781_21_912882.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/100x67/4/1/2/1418412_2024releases_323220.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/100x67/6/9/8/1430698_apaleviewofhills_80401.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/100x67/8/2/0/1430820_1600pxattica_0613_athens_40_view_from_lycabettus_667544_crop.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/100x67/8/0/2/1430802_shutterstock_2332661985_873039_crop.jpg", "https://d1nslcd7m2225b.cloudfront.net/Pictures/100x67/8/0/0/1430800_screenireland_222454.jpg" ]	[]	[]	[ "" ]	null	[ "Ellie Kahn", "Ben Dalton", "Matt Schley", "Alexis Grivas", "Michael Rosser", "Ellie Calnan" ]	2024-05-30T11:33:00+00:00	Physical production will run through Motive Pictures.	en	/magazine/dest/graphics/favicons/favicon-32x32.png	Screen	https://www.screendaily.com/news/guy-ritchie-to-direct-prime-videos-young-sherlock-series-starring-hero-fiennes-tiffin/5194117.article	Amazon Prime Video has ordered Young Sherlock, which will see Guy Ritchie return to the iconic detective following his hit film franchise. Inspired by Andy Lane’s young adult book series Young Sherlock Holmes, the series will follow the origin story of Sir Arthur Conan Doyle’s detective at age 19. The character’s story will open when he finds himself caught in a murder mystery at Oxford University. Ritchie will direct and exec produce the series with Hero Fiennes Tiffin, who starred in Ritchie’s feature The Ministry of Ungentlemanly Warfare, playing the titular role. The director previously helmed hit features 2009’s Sherlock Holmes and 2011 follow-up Sherlock Holmes: Game of Shadows starring Robert Downey Jr and Jude Law. Young Sherlock will be written and showrun by Matthew Parkhill (Deep State), with Simon Kelton (Eddie the Eagle) exec producing via his indie Inspirational Entertainment alongside Ivan Atkinson (The Gentlemen), Simon Maxwell (The Woman in the Wall), Dhana Gilbert (The Marvelous Mrs. Maisel), Colin Wilson (The Mandalorian), Marc Resteghini and Lane. The co-executive producer is Harriet Creelman. Physical production will run through Motive Pictures. Ritchie, who most recently created Netflix series The Gentlemen, said: “In Young Sherlock we’re going to see an exhilarating new version of the detective everyone thinks they know in a way they’ve never imagined before. Kelton originally conceived the project and packaged it with Atkinson, then partnered with Motive, Gilbert, and Resteghini, who developed and brought the series to Amazon MGM Studios. This story first appeared on Screen’s sister site Broadcast.
28270	yago	3	6	https://www.themoviedb.org/collection/113589-the-hire	en	The Hire Filmreihe	https://media.themoviedb…kuDXgOCyoi6G.jpg	https://media.themoviedb…kuDXgOCyoi6G.jpg	[ "https://www.themoviedb.org/assets/2/v4/logos/v2/blue_short-8e7b30f73a4020692ccca9c88bafe5dcb6f8a62a4c6bc55cd9ba82bb2cd95f6c.svg", "https://media.themoviedb.org/t/p/w300_and_h450_bestv2/1mniyf3qfmmsO8PkuDXgOCyoi6G.jpg", "https://media.themoviedb.org/t/p/w64_and_h64_face/ed0LT4wH1rUCviCFexd4XPZVHE1.jpg", "https://media.themoviedb.org/t/p/w64_and_h64_face/8XtGxpB4z428QDgwKlFYPktYHFC.jpg", "https://media.themoviedb.org/t/p/w64_and_h64_face/x78BtYHElirO7Iw8bL4m8CnzRDc.jpg", "https://media.themoviedb.org/t/p/w64_and_h64_face/2v9FVVBUrrkW2m3QOcYkuhq9A6o.jpg", "https://media.themoviedb.org/t/p/w64_and_h64_face/x7yTFrlbKLXKuzpqMfcZFWSsgZQ.jpg", "https://media.themoviedb.org/t/p/w64_and_h64_face/vPzvP0Qik5yHNf6dF2uqLH9HrX1.jpg", "https://media.themoviedb.org/t/p/w64_and_h64_face/i6vXukUwRsJa7S9yhZgoKt9xLDv.jpg", "https://media.themoviedb.org/t/p/w64_and_h64_face/Aqmsu1UHo40Md4RlLGfotSt8Lrr.jpg", "https://media.themoviedb.org/t/p/w64_and_h64_face/ajNHZQgV7fnUefTCtYbI553dd2r.jpg", "https://media.themoviedb.org/t/p/w64_and_h64_face/zVJfscd1rBPCXOMnsqTmlohCo8i.jpg", "https://media.themoviedb.org/t/p/w64_and_h64_face/p2RYVGdrcP0m70BkkiKcwyrDeim.jpg", "https://media.themoviedb.org/t/p/w64_and_h64_face/unvPSZshdNoj7c5wl6D30gPwKtS.jpg", "https://media.themoviedb.org/t/p/w64_and_h64_face/q189KhrMoKyQJsvwOE7x2nWAeEi.jpg", "https://media.themoviedb.org/t/p/w64_and_h64_face/tzU6z0Uk39zDFQKEWpyhw7QVR97.jpg", "https://media.themoviedb.org/t/p/w64_and_h64_face/qWrltG9e0ssM3Y9pF86EAgteKHu.jpg", "https://media.themoviedb.org/t/p/w64_and_h64_face/9pLUnjMgIEWXi0mlHYzie9cKUTD.jpg", "https://media.themoviedb.org/t/p/w64_and_h64_face/t7O6bNRscxOYadGNB1EWvBaSC0d.jpg", "https://media.themoviedb.org/t/p/w64_and_h64_face/e6cnnUqh6mGIjnRFI4xFc30AqVr.jpg", "https://media.themoviedb.org/t/p/w64_and_h64_face/yj40QEEfjbRFnlwY0XunocNKdAe.jpg", "https://media.themoviedb.org/t/p/w64_and_h64_face/uwaWs4X3lm0KlM64pEAcOtyP6y4.jpg", "https://media.themoviedb.org/t/p/w64_and_h64_face/zEEbiNa8Pqw3U6pZ8Z2y3dlJJnC.jpg", "https://media.themoviedb.org/t/p/w64_and_h64_face/lwhIzt4PVNrsfOXuZcKXhtPE83P.jpg", "https://media.themoviedb.org/t/p/w64_and_h64_face/s7sDmQq8cegHnsTmD0u2eZ4ArYZ.jpg", "https://media.themoviedb.org/t/p/w64_and_h64_face/wjNI9KM9qJSYZHxkjD4Pm81kfc4.jpg", "https://media.themoviedb.org/t/p/w64_and_h64_face/8a3qZrHQaj5JBG1uVv6NdCC7PK3.jpg", "https://media.themoviedb.org/t/p/w94_and_h141_bestv2/62FYfcDwWJIVvsCaUr0kvAF6GRq.jpg", "https://media.themoviedb.org/t/p/w94_and_h141_bestv2/xLgVJm9ArF3mPCDIe9dzWQtfW3s.jpg", "https://media.themoviedb.org/t/p/w94_and_h141_bestv2/wAVZSrnlRQsNDrmwqIatzXLDjsN.jpg", "https://media.themoviedb.org/t/p/w94_and_h141_bestv2/q9FgdaWOsHYEwck8nDqqna0kEbf.jpg", "https://media.themoviedb.org/t/p/w94_and_h141_bestv2/zslEgrYEg6EDzOYrr8EfDoQK8j1.jpg", "https://media.themoviedb.org/t/p/w94_and_h141_bestv2/d5CoQrPoN0h6h2BaZHAJNgWalJx.jpg", "https://media.themoviedb.org/t/p/w94_and_h141_bestv2/iHhGquZLHdm8cFKzJpgXq8HdQk0.jpg", "https://media.themoviedb.org/t/p/w94_and_h141_bestv2/QkWtQ5Vle4w8MzgpsLtwDpw28q.jpg", "https://media.themoviedb.org/t/p/w94_and_h141_bestv2/nKm8oOyjC88l0Iggwuye4ayMvWF.jpg", "https://www.themoviedb.org/assets/2/v4/logos/v2/blue_square_2-d537fb228cf3ded904ef09b136fe3fec72548ebc1fea3fbbd1ad9e36364db38b.svg" ]	[]	[]	[ "Movies", "TV Shows", "Streaming", "Reviews", "API", "Actors", "Actresses", "Photos", "User Ratings", "Synopsis", "Trailers", "Teasers", "Credits", "Cast" ]	null	[]	null	The Hire (auch BMW Films) ist eine Kurzfilmreihe des Autoherstellers BMW, die als Werbefilme für die kostenlose Verbreitung über das Internet konzipiert wurden. In den Jahren 2001 und 2002 entstanden in zwei Staffeln acht Kurzfilme. 2016 folgte mit The Escape ein weiterer Teil.	de	/assets/2/apple-touch-icon-57ed4b3b0450fd5e9a0c20f34e814b82adaa1085c79bdde2f00ca8787b63d2c4.png	The Movie Database	https://www.themoviedb.org/collection/113589-the-hire	While escorting an elderly man to an undisclosed location, The Driver is confronted by a van full of armed men and is warned that the old man has stolen a large amount of diamonds. The old man claims to have swallowed the diamonds and that the men will likely cut him open to retrieve them. The Driver decides at the last minute to help him, participating in a car chase and shootout with the van. The Driver eventually evades his pursuers and watches their destruction. He then delivers the old man to a town nearby and asks the merchant if he did indeed swallowed the diamonds. The client merely chuckles and walks away. The Driver then leaves. The Driver is hired by a nervous movie manager to spy on a paranoid actor's wife. During his tailing of the wife, the Driver describes the right way to tail someone. As he follows her he begins to fear what he might learn of her apparently tragic life. He discovers the wife is fleeing the country and returning to her mother's, and that she's been given a black eye, likely by her husband. He returns the money for the job, refusing to tell where the wife is, and drives off telling the manager never to call him again. The Driver is drafted by the UN to rescue a wounded war photographer named Harvey Jacobs from out of hostile territory. While they are leaving Jacobs tells the Driver about the horrors he saw as a photographer, but he regrets his inability to help war victims. Jacobs answers the driver curiosity about why he is a photographer by saying how his mother taught him to see. He gives the Driver the film needed for a New York Times story and also his dog tags to give to his mother. When they reach the border, they are confronted by a guard who begins to draw arms as Jacobs begins taking pictures, trying to get himself killed. The Driver drives through a hail of gunfire to the border, but finds Jacobs killed by a bullet through the seat. The Driver arrives in America to visit Jacobs' mother and share the news of him winning the Pulitzer prize and hand over the dog tags, only to discover that she is blind. The Driver is hired by the FBI to help defuse a hostage situation. A disgruntled employee has kidnapped a CEO and has hidden her, demanding $5,088,042. The Driver delivers the money, writing the sum on his hand as instructed by the hostage taker. After he is told that he holds the life of a person in his hand, he is ordered to burn the money. As he complies, the federal agents break in and attempt to subdue the man, who shoots himself in the head before he reveals where the woman is hidden. The Driver then tries to find the hostage before she drowns in the trunk of a sinking car. As a twist, the kidnapped woman is revealed to be the hostage taker's lover. She coldly taunts the dying man in the hospital. The Driver drives a wounded diplomat, who carries a mysterious briefcase, while under helicopter attack. During the attack the briefcase is struck by a bullet, causing a display on it to begin counting down, and it to leak an unknown fluid from the bullet hole. The Driver manages to destroy his pursuers, but refuses to proceed without knowing the contents of the damaged briefcase. It is revealed that the diplomat guards a human heart for a peacekeeper, whose life is needed for the continued freedom of the people. The case is delivered, and the tyrant is forced to give up his attempt to take the country by force. The Driver leaves for another mission.
28270	yago	0	71	https://www.thedailybeast.com/obsessed/guy-ritchies-the-covenant-review-hugely-political-action-film	en	‘Guy Ritchie’s The Covenant’ Review: Hugely Political Action Film	https://img.thedailybeast.com/image/upload/c_crop,d_placeholder_euli9k,h_675,w_1200,x_0,y_0/dpr_2.0/c_limit,w_740/fl_lossy,q_auto/v1682031123/230420-Schager-The-Convenant-tease_hripkv	https://img.thedailybeast.com/image/upload/c_crop,d_placeholder_euli9k,h_675,w_1200,x_0,y_0/dpr_2.0/c_limit,w_740/fl_lossy,q_auto/v1682031123/230420-Schager-The-Convenant-tease_hripkv	[ "https://img.thedailybeast.com/image/upload/v1649175967/obsessed-assets/logo_large.png", "https://img.thedailybeast.com/image/upload/c_fill,h_200,w_200,x_0,y_0/v1544801423/181214-Nick-Schager-author-_qvhfon.jpg", "https://img.thedailybeast.com/image/upload/c_crop,d_placeholder_euli9k,h_675,w_1200,x_0,y_0/dpr_1.5/c_limit,w_1044/fl_lossy,q_auto/v1682031123/230420-Schager-The-Convenant-tease_hripkv", "https://img.thedailybeast.com/image/upload/c_crop,d_placeholder_euli9k,h_675,w_1200,x_0,y_0/dpr_1.5/c_limit,w_690/fl_lossy,q_auto/230420-Schager-The-Convenant-embed-02_mgvei8", "https://img.thedailybeast.com/image/upload/c_crop,d_placeholder_euli9k,h_675,w_1200,x_0,y_0/dpr_1.5/c_limit,w_690/fl_lossy,q_auto/230420-Schager-The-Convenant-embed-01_g5tmjl", "https://img.thedailybeast.com/image/upload/c_crop,d_placeholder_euli9k,h_675,w_1200,x_0,y_0/dpr_1.5/c_limit,w_690/fl_lossy,q_auto/230420-Schager-The-Convenant-embed-03_ces1bk", "https://img.thedailybeast.com/image/upload/c_fill,h_200,w_200,x_0,y_0/v1544801423/181214-Nick-Schager-author-_qvhfon.jpg", "https://img.thedailybeast.com/image/upload/v1649175986/obsessed-assets/logo_small.png" ]	[]	[]	[ "Afghanistan", "Action film", "Guy Ritchie", "Jake Gyllenhaal", "Movies", "TV/Movies" ]	null	[ "Nick Schager", "www.thedailybeast.com", "nick-schager" ]	2023-04-21T08:56:03.101000+00:00	“The Covenant” is also deeply patriotic, while criticizing a dereliction of moral duty. Jake Gyllenhaal stars in the highly political, but fantastic old-school action film.	en	data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAABAAAAAQCAIAAACQkWg2AAABPUlEQVQoz6WSv6rCMBTGOymCIL6BizqIgvgHBRdxcPYJxNkHEDd1EhUclE6uPoKzu4OggoKP4CC3JqZNbJqbGKk3XVq4IcPJB7/DOV8+DdbrP6GQvEYk8kgm8WLBKFX0aBTkcni5ZIxp/M3cQyk9n2GthnVd0V8vejjAcpms13+A+53ZtqD2e5DPu7pzu/FGgtpsnq3WF4CNhtXviwpjIxZzdZDJ4NlMNDoeQamkAKjTkbUc3QXMdyN6OoFCIRBgDQZyVFip+APcAHq98oLoOmq3/YHPQQhWq9Zo5A/Y260wSu6QSgXbodd7ozb/2WAudbuu/g/g2Wzi8VhUpmnE48pIw6EMCA+V5nWDj7rbgWLxqyP0CRpfOptVAULk75DVyhvKy4XnF8/nmifeIJ3G0ylzHEUPhx+JBJ5MuFG/5/Ynabxw9yEAAAAASUVORK5CYII=	The Daily Beast	https://www.thedailybeast.com/obsessed/guy-ritchies-the-covenant-review-hugely-political-action-film	Guy Ritchie, an auteur best known for cheeky British gangster films and big-budget Disney adaptations, seems—on the face of it—to be an unlikely director to make The Covenant. The film, in theaters April 21, is a sober military thriller that excoriates Joe Biden’s decision to pull out of Afghanistan in 2021 and, in the process, to strand the thousands of local interpreters who had risked their lives to aid the American cause. Nonetheless, a closer inspection reveals it to be another of his portraits of brotherhood forged and strengthened under fire, this time cast in a familiar Hollywood mold that does much to energize its politicized take-down of our recent dereliction of moral duty. The polar opposite of Ritchie’s lighthearted espionage lark Operation Fortune: Ruse de Guerre, The Covenant (which, to hammer home its authorship, is officially presented as Guy Ritchie’s The Covenant) lets its action do its preaching, with only opening and closing textual notes providing real-world context for its dramatic story. Set in March 2018 in Afghanistan, it concerns United States Master Sergeant John Kinley (Jake Gyllenhaal), the leader of a team responsible for locating and eliminating IED factories and other munitions stockpiles. Ritchie introduces these characters in snapshots embellished by on-screen title cards, and though that device is a tad clunky, it works better when used to define the acronyms (such as QRF, for Quick Reaction Force) bandied about by these hardened military vets. Kinley’s squad suffers a fatal blow at the start of The Covenant, thereby compelling them to hire a new translator for subsequent missions. The man who gets that job is Ahmed (Dar Salim), a hard-nosed Afghan with a reputation for doing things his way. Kinley can tell from the start that Ahmed is capable and difficult, and that’s proven when, on their first outing together, he follows his instincts by offering a suspect additional money to talk—a line of attack that Kinley had expressly forbidden. Nonetheless, since his tactic produces results, there’s not much for Kinley to do but swallow his pride and keep a wary eye on his recruit, whom Salim embodies with a self-possessed gravity and sense of purpose that makes him appear less like Kinley’s underling than someone closer to his equal. Ahmed is a bit of a wild card, and yet he demonstrates his value when—after Kinley receives a tip about two possible IED sites—he correctly deduces that their other translator is trying to lead them into an ambush. Having joined the Americans in the wake of his son’s murder at the hands of the Taliban, Ahmed is an individual who means business, which aligns him with Kinley, a husband (to Emily Beecham’s wife) and father whose determination and seriousness is so extreme that even his stabs at humor feel like challenges. They’re put to the test when, at the second potential IED location, they find themselves in a furious firefight against Taliban forces, who swarm in from every corner of the dusty area, killing all of Kinley’s men and forcing the duo to take to the desert—in a vehicle, and then on foot—to escape death. This two-against-many scenario is reasonably conventional by mainstream war-cinema standards, although it’s given a twist when Kinley is injured during an ensuing skirmish and Ahmed chooses to put his own life on the line in order to get Kinley safely back to Bagram Air Base. In this middle section, The Covenant delivers a harrowing journey through enemy territory, where virtually no one can be trusted and detection means immediate execution. Ritchie generates significant tension from these passages, employing slow-motion (his favorite flourish) to accentuate moments of pain and crisis, and drone shots (almost to excess) to afford aerial overviews of battlegrounds’ layouts and, additionally, to contextualize his protagonists as tiny figures making their way through a vast, unforgiving landscape. The hook of The Covenant is that Ahmed, through efforts that are heroic in the extreme, succeeds in his endeavor, avoiding capture and returning a terribly injured Kinley to his American compatriots by dragging him on a makeshift stretcher, pushing him in a rickety cart, and rolling him up in rugs in order to secretly transport him via truck. When Kinley awakens in a stateside hospital, however, he’s shocked and incensed to learn that Ahmed has been left to fend for himself in Afghanistan, denied the Special Immigration Visas that were promised to him, his wife and their newborn son. On the run because he has a Taliban bounty on his head, Ahmed has been abandoned—something that inspires such guilt, grief, and rage in Kinley that it’s a foregone conclusion he’ll quit trying to deal with useless bureaucrats to extricate his translator and just do it himself, with or without the help of his commanding officer Vokes (Johnny Lee Miller) or private security contractor Parker (Antony Starr). “I want you to honor the deal,” seethes Kinley to Vokes, articulating not only the code by which he (and all soldiers) lives, but the film’s viewpoint when it comes to America’s obligation to its foreign comrades. The Covenant is at once patriotic and critical of the U.S.’s conduct in Afghanistan, its straightforward template designed to both elicit admiration for its protagonists—and excitement from their harrowing exploits—and disgust over the fact that, in real life, so many translators were forsaken when we withdrew from the country (according to a coda, more than 300 were executed and thousands remain in hiding). As portrayed by Ritchie, Ivan Atkinson and Marn Davies’ script, Kinley and Ahmed’s deeds are of a heightened blockbuster-movie variety, and Gyllenhaal and Salim sell their respective characters’ intensity, conviction and virtuousness. Moreover, the proceedings bestow the two leads with equivalent time in the (lionizing) spotlight, all while hitting the sweet spot between fantasy and reality, with the former providing an illuminating window onto the latter. The Covenant might have been a heavy-handed polemic were it not for Ritchie couching things in fictional terms and putting a premium on suspenseful genre-y set pieces, be it encounters at Taliban checkpoints, firefights at remote mines, or car chases through scraggly mountains. The result is an old-school action film elevated by Gyllenhaal’s rousing movie-star turn and Salim’s impressive breakthrough performance—as well as a censure of U.S. policy that stingingly hits its mark.
28270	yago	2	68	https://www.flickeringmyth.com/lock-stock-and-the-essential-guy-ritchie-movies/	en	Lock, Stock and The Essential Guy Ritchie Movies	https://cdn.flickeringmy…-guy-ritchie.jpg	https://cdn.flickeringmy…-guy-ritchie.jpg	[ "https://cdn.flickeringmyth.com/wp-content/uploads/2023/02/essential-guy-ritchie-600x315.jpg", "https://cdn.flickeringmyth.com/wp-content/uploads/2022/02/Vinnie-Jones-Lock-Stock-600x324.jpg", "https://cdn.flickeringmyth.com/wp-content/uploads/2021/07/Snatch-5-600x342.jpg", "https://cdn.flickeringmyth.com/wp-content/uploads/2023/02/Rocknrolla-600x338.jpg", "https://cdn.flickeringmyth.com/wp-content/uploads/2018/03/robert-downy-jr-sherlock-holmes-2-600x338.jpg", "https://cdn.flickeringmyth.com/wp-content/uploads/2020/10/the-man-from-uncle-600x356.jpg", "https://cdn.flickeringmyth.com/wp-content/uploads/2019/12/the-gentlemen-colin-farrell-charlie-hunnam-600x338.jpg", "https://secure.gravatar.com/avatar/cad3c3c15fe5b51b00e6abe36e0145af?s=70&d=mm&r=g", "https://cdn.flickeringmyth.com/wp-content/uploads/2024/02/films-that-need-a-remake-740x400.jpg", "https://cdn.flickeringmyth.com/wp-content/uploads/2024/01/Emma-DArcy-Olivia-Cooke-House-of-the-Dragon-Poster-740x400.jpg", "https://cdn.flickeringmyth.com/wp-content/uploads/2024/01/horror-video-games-movies-740x400.jpg", "https://cdn.flickeringmyth.com/wp-content/uploads/2022/10/jcvd-740x400.jpg", "https://cdn.flickeringmyth.com/wp-content/uploads/2024/02/1984-cult-films-740x400.jpg", "https://cdn.flickeringmyth.com/wp-content/uploads/2024/04/horror-sequels-740x400.jpg", "https://cdn.flickeringmyth.com/wp-content/uploads/2022/08/action-cinematography-740x400.jpg", "https://cdn.flickeringmyth.com/wp-content/uploads/2023/09/tony-scott-740x400.jpg", "https://cdn.flickeringmyth.com/wp-content/uploads/2023/07/british-horror-740x400.jpg", "https://cdn.flickeringmyth.com/wp-content/uploads/2022/05/1990s-comic-book-movies-header-740x400.jpg", "https://cdn.flickeringmyth.com/wp-content/uploads/2024/08/alien-knock-offs-740x400.jpg", "https://cdn.flickeringmyth.com/wp-content/uploads/2022/04/batgirl-batman-740x400.jpg", "https://cdn.flickeringmyth.com/wp-content/uploads/2024/07/2025-movie-sequels-740x400.jpg", "https://cdn.flickeringmyth.com/wp-content/uploads/2024/06/The-Acolyte-_-Awake-_-Streaming-June-4-on-Disney-0-24-screenshot-1-740x400.jpg", "https://cdn.flickeringmyth.com/wp-content/uploads/2022/10/friday-the-13th-740x400.jpg", "https://cdn.flickeringmyth.com/wp-content/uploads/2024/04/53986_1_THE-BABY-IN-THE-BASKET_KEY_ART_V4-crop-1536x849.jpg", "https://cdn.flickeringmyth.com/wp-content/uploads/2024/02/John-Rip-and-Beth-Yellowstone-Ending-740x400.jpg", "https://cdn.flickeringmyth.com/wp-content/uploads/2022/09/59297-terminator2_576pyxurz-740x400.jpg", "https://cdn.flickeringmyth.com/wp-content/uploads/2024/02/2024-action-movies-740x400.jpg", "https://cdn.flickeringmyth.com/wp-content/uploads/2024/04/edward-scissorhands-723x400.jpg" ]	[]	[]	[ "" ]	null	[ "Tom Jolliffe", "film journalist", "Lee Majors)" ]	2023-08-28T10:15:18+00:00	On the 25th anniversary of Lock, Stock and Two Smoking Barrels, we look at the essential Guy Ritchie films… In 1998, Guy Ritchie burst onto the British film scene with his dazzling debut hit Lock, Stock and Two Smoking Barrels. Since then he’s revisited guns and gangsters, adapted a classic spy show, adapted an iconic […]	en	https://cdn.flickeringmy…x512-1-32x32.jpg	Flickering Myth	https://www.flickeringmyth.com/lock-stock-and-the-essential-guy-ritchie-movies/	On the 25th anniversary of Lock, Stock and Two Smoking Barrels, we look at the essential Guy Ritchie films… In 1998, Guy Ritchie burst onto the British film scene with his dazzling debut hit Lock, Stock and Two Smoking Barrels. Since then he’s revisited guns and gangsters, adapted a classic spy show, adapted an iconic literary detective, knight and king of the Round Table and rebooted a Disney character. He also made Swept Away, but we won’t go into that. A now 25-year career has seen plenty of ups and downs for Ritchie, but with that, a tidy selection of cult favourites. Whether you believe him to be a cinematic genius or an overrated magpie pilferer of other people’s ideas, Ritchie’s influence on the British film industry is undeniable with a quarter of a century of inferior copycat films populating the indie film scene. If Die Hard launched a sub-genre, so too did the Ritchie riff fascination which followed Lock, Stock. So, on the film’s 25th anniversary, let’s take a look at the best idiosyncratic stylings of Britain’s answer to Quentin Tarantino… Lock, Stock and Two Smoking Barrels This low budget crime comedy smashed its way onto the scene. A near-dormant British gangster film genre was suddenly all the rage again thanks to Guy Ritchie, with every aspiring young director trying to blend twisting plotlines, colourful dialogue and exaggerated mockney theatrics. For the most part, the copycats were dire, with the occasional gold nugget, but Guy Ritchie’s Lock, Stock remained the benchmark and the best of its ilk since the 1980s. A card shark and his mates pool their money together to enter a high-stakes poker game against London’s most dangerous gangster. Eddie (Nick Moran) loses the game putting himself and his mates (including Jason Statham in his debut film) in debt. So ensues an interloping tale with a comedy of errors as a collection of criminal sorts are unknowingly intertwined and inevitably galloping toward collision. Great lines, a killer soundtrack and enjoyable performances (with then footballer Vinnie Jones delivering a surprise performance which effectively turned him from sportsman to actor) prove a whale of a time. Ritchie’s unconventional style is at its rawest and most unrefined here, but the film still remains arguably his best and fans can almost quote the entire film verbatim. Snatch Ritchie took everything that worked in Lock, Stock and broadened the scope even further for his next film. He then upped the ante with casting, as a larger budget and his recognition afforded the opportunity to cast Hollywood stars like Brad Pitt and Benicio del Toro. Here, Jason Statham cemented his rising stardom in Britain to take the lead role and prove his rugged charm. It would be shortly after that his impressive physical prowess and martial arts ability would be utilised in the Transporter series to kick him into a new direction, but Snatch really was the first proof that he could lead a picture. The interweaving stories that gravitate around a priceless stolen diamond almost have one strand too many, but the whole cast is in great form and having a great time. Brad Pitt doesn’t just turn up to have an easy walk-on. He’s effortlessly charming as Mickey, the travelling gypsy fighter who causes Statham no end of problems. Like Lock, Stock, Snatch is full of great lines. The increased budget gives it a bit more of a cinematic gloss and the inclusion of some wider scale set pieces (notably the fist fights). Ritchie also goes wild, playing with camera angles, shutter speeds, movements and then even more whimsical flights of fancy in the edit. Overdone? Maybe so, and it’s often been said Ritchie is style over substance, but the counter is, his style is his substance. It’s inimitably Ritchie. RocknRolla Guns, drugs, gangsters and chaos abound as Ritchie returned to his bread and butter after misfiring with the film that shall not be mentioned, and the wildly erratic, overly complex, Revolver which is either a misunderstood masterpiece or a shambles depending on who you ask. RocknRolla never hits the levels of Lock, Stock and Snatch but a star-powered cast always keeps it interesting, including Gerard Butler, Idris Elba, Tom Hardy, Thandiwe Newton and Mark Strong. Many of the big names here were just building up to their breakout roles elsewhere and there’s perhaps a certain value that Ritchie can squeeze out of a cast that another five years later, might have been too expensive. That said, Toby Kebbell, relatively unknown at the time, really steals the show here. This follows the familiar pattern of slowly linking these divergent threads together and more so than Ritchie’s predecessors, this one probably has a few weaker subplots and characters, but still, it all ties together well enough. The lack of more distinct MacGuffins like guns, cold hard cash or diamonds, replaced by real estate scams, probably holds this one back a little. Still, a lot of fun is to be had though, albeit somewhat safe. Sherlock Holmes Guy Ritchie’s first clear dive away from British cinema to the land of Hollywood blockbusters wasn’t a complete jump into the unknown but still somewhat surprising. He was adapting a well-known and loved literary character, in a film set in Victorian Britain, with an A-list American actor as the quintessentially British character. Robert Downey Jr.’s phoenix rise from an ashen career, thanks to Iron Man, was cemented by a string of tentpole pictures including Sherlock Holmes. Partnered with Jude Law as Watson, it’s a very distinctly Ritchie take on the iconic Detective. This Holmes is played as socially gauche, quirky and as well travelled and educated as the source. Further, this action-heavy spectacle has Holmes as an expert in martial arts. Ritchie lenses and edits the whole thing with his typically excessive hand, but it differentiates this incarnation of the Doyle Detective from the dryer adaptations film and TV has been used to. It’s light-hearted and what you might call a good old romp. Downey Jr. is great, and ably assisted by Jude Law. Fans of murder mystery and whodunnit cinema probably won’t find the film’s case as intricately stitched as they may want, but generally, fans enjoyed this action-centric Holmes tale. The sequel was much the same and still worth a watch. The Man From U.N.C.L.E. Ritchie’s clout was helped by his Sherlock success. He was then tasked with helming a big-budget adaptation of the 60s spy classic, The Man From U.N.C.LE. Partnering with another comic book actor, this time the (latest) man of steel himself, Henry Cavill and Armie Hammer. We’ve had rumours of the next James Bond for years now. At a point when Daniel Craig looked bored of it and wanted to jump ship (before doing Spectre and No Time To Die), one of many rumoured successors was Cavill. If a guy who played Superman was going to be a tough choice (because historically, Bond usually casts someone of lesser fame than a man of steel), then casting a star also known for a Spy IP like U.N.C.L.E., was probably impossible. As it is, Ritchie’s enjoyably old-fashioned Spy lark, which still contains a number of his stylistic flourishes (for better or worse) is a lot of fun. It’s a nice throwback that nails the classic Bond tropes better than the tail end of Craig’s era did with Bond proper. Cavill is charismatic and cool and Hammer bounces off him well. I won’t say he adds bite to his role, but he kind of does. There’s an ace (of course) supporting cast and in many ways, it lays out a good blueprint of what the Bond franchise could return to. It’s also got a style and cool that belies the rough raggedness of Craig’s Bond, definitely stroking the nostalgia bone. The Gentleman Ritchie’s big-budget Hollywood films were a little bit of a mixed bag. The whole live-action rebooting of well-loved animated Disney classics has been contentious but financially lucrative. Ritchie’s Aladdin was a definite success for the coffers but left audiences a little cold. His King Arthur adaptation was another large-scale attempt at turning the Arthurian legend into tentpole blockbuster material, but another failure (critically and commercially). Ritchie’s stalwart fans felt something was long overdue and that was a return to the gangster cinema that launched him. He did just that, delivering his most refined and restrained (but no less stylish) take on the genre with The Gentleman. Once again, it’s a web of interlinking plots and characters which all circulate back to the centre. Matthew McConaughey is the prize Hollywood lead delivering a stellar performance, bolstered by a brilliant supporting cast of Colin Farrell, Charlie Hunnam, Michelle Dockery, Henry Golding and a somewhat revelatory Hugh Grant. As per usual, depending on your taste, the dialogue is playful and engaging (or it’s excessively wordy if Ritchie/QT ain’t your bag). Above all though, what never escapes Ritchie’s crime comedy cinema is the overriding sense that his cast is revelling in these films. They exude a sense of communal fun and good spirit, and largely cohesive chemistry where antagonists bounce off each other nicely. There’s an argument, increasingly confirmed by repeat viewings, that The Gentlemen could be his best work. Though for me, it’s a close bronze runner up behind his first two films. What is your favourite Guy Ritchie film? Are you looking forward to seeing Operation Fortune: Ruse de Guerre? Let us know on our social channels @FlickeringMyth…
28270	yago	2	13	https://www.metacritic.com/pictures/guy-ritchie-movies-ranked-worst-to-best/	en	Every Guy Ritchie Movie, Ranked Worst to Best	https://www.metacritic.c…/img/favicon.svg	https://www.metacritic.c…/img/favicon.svg	[ "https://www.metacritic.com/a/neutron/images/logos/imdb_logo.png", "https://www.metacritic.com/a/neutron/images/logos/imdb_logo.png" ]	[]	[]	[ "" ]	null	[]	2024-04-16T15:48:00+00:00	We rank every one of the British director's movies by Metascore, from his debut Lock, Stock, and Two Smoking Barrels to his brand new film, The Ministry of Ungentlemanly Warfare.	en	https://www.metacritic.c…/img/favicon.svg		https://www.metacritic.com/pictures/guy-ritchie-movies-ranked-worst-to-best/	Ritchie and his new bride, global pop star Madonna, partnered on an ill-advised remake of the 1974 Italian stranded-on-an-island romantic adventure of the same name starring Giancarlo Giannini and Mariangela Melato. Madonna's character is the grating, rich socialite wife of a millionaire who, while on a private sea voyage, continually insults deckhand Giuseppe (Adriano Giannini, Giancarlo Giannini's son!), eventually leading to them being stranded on a deserted island. Hijinks and eventual romance ensue. The film was a notorious bomb, making only a little over a million dollars globally. Ritchie would never again go near a romantic comedy, and he and Madonna would split up in 2008. "A deserted island movie during which I desperately wished the characters had chosen one movie to take along if they were stranded on a deserted island, and were showing it to us instead of this one." —Roger Ebert, Chicago Sun-Times Going back to basics with very mixed results, Revolver is now essentially remembered as the movie where Jason Statham has hair! Statham stars as Jake Green, a violent gambler who has been released from seven years in solitary confinement. Once out, he gets involved with a casino heist against gang boss Dorothy Macha, played by Ray Liotta. Goodfellas actor? Check. Vincent Pastore from The Sopranos? Check. OutKast's André Benjamin (a.k.a. André 3000)? Sure, why not? Ritchie tried playing it serious, critics weren't kind, and audiences stayed away, with the film only making a little over $7 million worldwide. "Guy Ritchie shoots a blank with Revolver, which replays the low-life criminal shtick from his first two features with an ill-advised overlay of pretension. The action, attitude and wise-guy talk all feel moldy this time around." —Todd McCarthy, Variety" Watch on Netflix The Arthurian legend gets the Guy Ritchie treatment in a failed franchise launch with King Arthur: Legend of the Sword. Featuring Undeclared, Sons of Anarchy, and Pacific Rim star Charlie Hunnam as the titular Arthur and Jude Law (from Ritchie's Sherlock Holmes films) as villain Vortigern, the film (which was clearly trying to capitalize on Game of Thrones' then-massive audience) ultimately failed to connect with audiences and couldn't make back its reported $175 million budget. Many critics blamed the mismatch of Ritchie's violent and edgy sensibility with the more somber perception of the classic Arthurian tale. Also frequently criticized were the overabundance of lackluster CGI, overcooked action, and lack of heart. "King Arthur is neither Guy Ritchie's worst film nor his best, but it might well be his most frustrating. A compendium of all the things that make the British director so occasionally exciting and so often irritating, this new, hyper-stylized take on the Arthurian legends veers between genius and idiocy." —Bilge Ebiri, Village Voice Sherlock Holmes, Dr. John Watson, and Irene Adler return for Guy Ritchie's only sequel to date. But Sherlock Holmes: A Game of Shadows was not as positively received as 2009's Sherlock Holmes. This time, the gang are after similarly brilliant Professor Moriarty, played by character actor legend Jared Harris. Notable additions to the sequel are Noomi Rapace as fortune teller Madame Simza and Stephen Fry as Holmes' older brother, Mycroft. The criticisms of the sequel were similar to those of its predecessor, calling the film overly plotted and not as smart as it would lead you to believe. But Shadows was slightly more successful than the original, earning nearly $550 million at the global box-office. It was the second biggest hit of Richite's career, and there've been persistent rumors of a third film and a potential television spinoff of the franchise. "Virtually every set-up and set-piece in this extravagantly tedious adventure is misleading, or worse, irrelevant." —Steven Rea, Philadelphia Inquirer Matthew McConaughey enters the Ritchieverse as American "Mickey" Pearson, a marijuana magnate looking to offload his business in London. A colorful bunch of characters played by Charlie Hunnam, Michelle Dockery, Henry Golding, Colin Farrell, Jeremy Strong, Hugh Grant, and Guy Ritchie mainstay Eddie Marsan plot and scheme to steal the green. Most critics acknowledged the return of Ritchie's "Mockney'' style, which some were excited about and others were exhausted by. The film was a hit, making over $115 million, which likely contributed to the decision to turn it into the Netflix series of the same name that premiered last month. Ritchie co-wrote and directed the first two episodes of the eight-episode season that stars Theo James (The White Lotus) and features the return of old-school Ritchie discovery Vinnie Jones. "The Gentlemen is a mongrel of a movie. There are not enough twists and tangles for a proper mystery, not enough thrills for an action flick, and not enough laughs for a comedy." —Anthony Lane, The New Yorker An espionage thriller and Hollywood satire are put into a blender with a healthy shot of Jason Statham and scene-stealing turns by Aubrey Plaza and Hugh Grant thrown in for good measure. Operation Fortune: Ruse de Guerre is about spy Orson Fortune (Statham), trying to prevent the sale of new weapons tech to baddie Greg Simmonds (Grant). Hollywood star Danny Francesco (a pre-Oppenheimer Josh Hartnett) is recruited by Fortune's team (Plaza, Cary Elwes) and hijinks ensue! Critics were right in the middle, saying the movie was a breezy international caper, but nothing to write home about. The Lionsgate/Amazon Prime co-pro was just shy of making its $50 million budget back at the global box-office. "The cast does its best with what they've got but only so much can be done. The mission might be complete, but it's hard to call it a success, and there were undoubtedly casualties." —Simon Thompson, The Playlist Watch on Starz The Disney live-action remakes of their animated classics started to gain momentum with Tim Burton's 2010 Alice in Wonderland and Jon Favreau's 2016 take on The Jungle Book. Was the next logical step to get Guy Ritchie to direct the live-action Aladdin?!? As implausible as that seems, perhaps as implausible as ever having someone other than Robin Williams—let alone Will Smith—portray the genie, the film went on to gross over a billion dollars globally and is by far Ritchie's biggest success to date, middling reviews be damned. In pre-pandemic 2019, audiences couldn't get enough of Prince Ali/Aladdin (Mena Massoud), Princess Jasmine (Naomi Scott), evil Jafar (Marwan Kenzari) and yes, Will Smith's Genie. "The filmmakers aren't much interested in developing these characters out of their original two dimensions, or leaning into the character dynamics that make Ritchie movies distinctive. As a result, the whole endeavor feels unfinished and unresolved." —Kendra James, The Verge Watch on Disney+ Surprisingly, action mainstay Gerard Butler and Guy Ritchie have only worked together once. Stop us if you've heard this one before, but this gangster crime comedy stars the late Tom Wilkinson as standout balding baddie Lenny Cole, who's involved in shady land deals that increasingly involve stylized violence and characters played by the likes of Thandiwe Newton, Idris Elba, Mark Strong, Tom Hardy, Jeremy Piven, and Chris Bridges a.k.a. Ludacris). Many critics complained that the exaggerated violence on display in RocknRolla comes off as cartoonish and increasingly lacks stakes. The low-budget flick reportedly cost around $18 million to produce and made about $25 million around the globe. Ritchie said around the time that he had a script for a sequel, but considering how long ago that was, we may never see it. "As punchy and energetic as the first few moments are, the rest of the film quickly falls back into mediocrity." —James Berardinelli, ReelViews Watch on Hoopla The much-ballyhooed follow-up to Lock, Stock and Two Smoking Barrels that starred megastar Brad Pitt was essentially a facsimile of its predecessor. This time, criminal boxing promoters, amateur crooks, crooked bookmakers, fake jewelers, and a Russian gangster are trying to apprehend a stolen diamond. Notable additions to the cast are Pitt (doing an incomprehensible Irish accent, for laughs) as boxer Mickey O'Neil, Benicio del Toro as gambling junkie Franky Four-Fingers, and Dennis Farina as jewelry expert "Cousin Avi." Ritchie was cementing his style with his sophomore feature and depending on what review you read, that was either a good thing or a bad thing. In 2017, a Snatch TV series debuted starring Harry Potter's Rupert Grint and lasting for two seasons. "If the film is too similar to Ritchie's first movie, 'Lock, Stock and Two Smoking Barrels' with its multiple story lines, complex plotting, and double-crossing antics, it's at least colorfully told with dialogue that shines with the inventive slang of Ritchie's screenplay." —David Sterritt, Christian Science Monitor The newest Guy Ritchie film is a throwback World War II action movie loosely based on a true story about a covert group of British fighters assembled by Winston Churchill to give the Nazis hell in Nazi-occupied Europe. The team is led by a gloriously unhinged Henry Cavill as Gus March-Phillipps and also includes a stellar supporting cast that includes Reacher's Alan Ritchson, 3 Body Problem's Eiza González, The Gentlemen's Henry Golding, and Dune/Dune Part Two's Babs Olusanmokun. The film is notably co-produced by action legend Jerry Bruckheimer (Top Gun). Ritchie, continuing his recent cinematic assault, already has two films ready to go after this. Next year's In the Grey stars Eiza González, Jake Gyllenhaal, and Henry Cavill, and after that John Krasinski and Natalie Portman search for the Fountain of Youth. "Though not Guy Ritchie's best film, The Ministry of Ungentlemanly Warfare has enough slick style and exhilarating action to be a helluva fun ride." -Molly Freeman, Screen Rant An attempt to turn the '60s television spy series into a cinematic franchise, Ritchie's The Man from U.N.C.L.E. stars Henry Cavill as CIA agent Napoleon Solo and Armie Hammer as KGB agent Illya Kuryakin, rival agents who must team up to take down the villains looking to control nuclear tech. The film also stars Alicia Vikander, Elizabeth Debicki, Jared Harris, and Hugh Grant and was met with mixed reviews with critics commenting on the disparate tone that veers from a serious opening act to a silly section set in Rome. Ultimately, the film made just a little over $100 million on a reported $75 million budget, and given Hammer's controversial personal life, this might be the last we see of these particular men from U.N.C.L.E. "Stylish to a fault and straying from the source, Guy Ritchie's The Man from U.N.C.L.E. revives a 1960s television hit for the short attention spans of today's youth-skewing movie audience." —Steve Persall, Tampa Bay Times Robert Downey Jr., hot off of his MCU-inception 2008 hit, Iron Man, stars as the titular detective with Jude Law featured as his sidekick, Dr. Watson. This being a Guy Ritchie movie, Holmes and Watson stylishly kick ass in massive setpieces while solving/preventing an overly plotted scheme that threatens all of England. Critics largely attacked the film for its murky look and for dumbing down the Sherlock Holmes mythos by turning it into a superhero-esque film with massive CGI action. Nevertheless, Holmes, which also starred Rachel McAdams and Mark Strong, was Ritchie's biggest hit to date at that time, making over half a billion dollars. It was no mystery that a sequel would happen, and a couple of years later Watson and Holmes returned in A Game of Shadows. "In short, Ritchie's come up with precisely what you'd expect of him — a pumped-up, anachronistically modern Sherlock Holmes designed for the ADD crowd. Expect a sequel. Or six." —Bob Mondello, NPR Watch on Apple TV+ Ritchie and Jason Statham re-teamed in 2021 for the first time since 2005's Revolver, and many critics thought it was worth the wait. A remake of the 2004 French film Le Convoyeur (Cash Truck), Wrath of Man follows a new armored car guard who reveals a surprising set of skills while defending a payload during an attempted robbery, resulting in a more serious revenge action drama that delivered vicarious excitement during the pandemic. Critics appreciated Ritchie dialing down the silliness for a more straightforward action thriller. The film was a modest hit, making over $100 million on a reported $40 million budget. "Wrath of Man feels like a homecoming for director and star, and an evolution, too. With Statham in the lead, playing one of his classically taciturn and tactically lethal action heroes, Ritchie is as restrained and controlled as he's been in years." —Katie Walsh, St. Louis Post-Dispatch Ritchie blasted onto the film scene in a big way in 1998. It's hard to explain how massive Lock, Stock and Two Smoking Barrels was in the film landscape of the late 1990s. Ritchie's style was fully formed from the jump, and his arrival on the scene wasn't just as a promising filmmaker, but also as a brand. Cockney accents and fast-paced cheeky gun violence created a fervor with young viewers looking for their next Tarantino-esque fix. The heist-gone-wrong flick would be the first time many audiences were introduced to actors Vinnie Jones and Jason Statham; both would turn up in Ritchie's follow-up Snatch, and Statham would go on to become one of the most prolific and consistent action stars in the world. In 2000, there was even a seven-episode spinoff series (Lock, Stock…) that Ritchie co-wrote and executive produced and which starred Martin Freeman and Nikolaj Coster-Waldau before their respective The Office (UK) and Game of Thrones breakouts. "A dynamite bundle from British writer-director Guy Ritchie. Even when the accents are as indecipherable as the plot, Ritchie keeps the action percolating and the humor on high." —Peter Travers, Rolling Stone
28270	yago	2	52	https://www.empireonline.com/tv/news/the-gentlemen-teaser-reveals-ray-winstone-as-part-of-guy-ritchie-series/	en	The Gentlemen Teaser Reveals Ray Winstone As Part Of Guy Ritchie Series	https://images.bauerhost…w=undefined&q=80	https://images.bauerhost…w=undefined&q=80	[ "https://images.bauerhosting.com/empire/2024/01/gentlemen-winstone.jpg?ar=16%3A9&fit=crop&crop=top&auto=format&w=480&q=80 480w, https://images.bauerhosting.com/empire/2024/01/gentlemen-winstone.jpg?ar=16%3A9&fit=crop&crop=top&auto=format&w=768&q=80 768w, https://images.bauerhosting.com/empire/2024/01/gentlemen-winstone.jpg?ar=16%3A9&fit=crop&crop=top&auto=format&w=992&q=80 992w, https://images.bauerhosting.com/empire/2024/01/gentlemen-winstone.jpg?ar=16%3A9&fit=crop&crop=top&auto=format&w=1200&q=80 1200w, https://images.bauerhosting.com/empire/2024/01/gentlemen-winstone.jpg?ar=16%3A9&fit=crop&crop=top&auto=format&w=1440&q=80 1440w", "https://www.empireonline.com/assets/facebook.svg 1x, /assets/facebook.svg 2x", "https://www.empireonline.com/assets/twitter.svg 1x, /assets/twitter.svg 2x", "https://www.empireonline.com/assets/pinterest.svg 1x, /assets/pinterest.svg 2x" ]	[]	[]	[ "" ]	null	[]	2024-01-15T00:00:00	Check out the first footage of the show via Empire.	en	/assets/empire/favicon.ico	Empire	https://www.empireonline.com/tv/news/the-gentlemen-teaser-reveals-ray-winstone-as-part-of-guy-ritchie-series/	Given how busy he's been genre-hopping on the big screen of late, you wouldn't necessarily expect Guy Ritchie to have the time to also be truly involved in a TV spin-off off one of his movies. But you'd be wrong! Following on from our picture exclusive, the first teaser for Netflix's The Gentlemen has dropped, including the reveal that Ray Winstone is part of the cast. Check it out… Set in the world of the film, but featuring new characters, the series sees Eddie Horniman (Theo James) unexpectedly inherit his father’s sizeable country estate - only to discover it’s part of a cannabis empire. Moreover, a host of unsavoury characters from Britain’s criminal underworld want a piece of the operation. Determined to extricate his family from their clutches, Eddie tries to play the gangsters at their own game. However, as he gets sucked into the world of criminality, he begins to find a taste for it. Winstone plays Bobby Glass, a career criminal from the East End of London who founded an industrial cannabis empire, while Kaya Scodelario is Susie Glass, Bobby’s effortlessly stylish and steely daughter who runs the day-to-day business of the empire. And that's just the tip of the casting iceberg, as Daniel Ings, Joely Richardson, Vinnie Jones (of course!), Giancarlo Esposito, Chanel Cresswell, Michael Vu, Max Beesley, Jasmine Blackborow, Harry Goodwins, Dar Salim, Pearce Quigley, Ruby Sear and Peter Serafinowicz are all part of the show. The Gentlemen will be on our screens this March.
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"https://www.businessinsider.com/public/assets/BI/DE/logos/BI-DE-Black-on-Light-final-footer-logo-opt.svg", "https://www.businessinsider.com/public/assets/BI/DE/logos/BI-DE-Black-on-Light-final-footer-logo-opt.svg", "https://www.businessinsider.com/public/assets/BI/US/logos/Tech-Insider-opt.svg", "https://www.businessinsider.com/public/assets/BI/US/logos/Tech-Insider-opt.svg", "https://sb.scorecardresearch.com/p?c1=2&c2=9900186&cv=3.6.0&;cj=1&comscorekw=entertainment" ]	[]	[]	[ "" ]	null	[ "Eammon Jacobs" ]	2024-03-07T08:30:02+00:00	Netflix's "The Gentlemen" is a spin-off from Guy Ritchie's movie of the same name, but there are a few details that reference the film.	en	/public/assets/BI/US/favicons/apple-touch-icon-192x192.png?v=2023-11	Business Insider	https://www.businessinsider.com/netflix-the-gentlemen-series-details-you-missed-2024-3	This story is available exclusively to Business Insider subscribers. Become an Insider and start reading now. Have an account? . Advertisement 1. Freddy in the freezer The first episode kicks off with a nod to the film, while also establishing some key details about Eddie's brother, Freddy Horniman (Daniel Ings). Viewers learn he's a gambling addict who owes a Liverpudlian firm of gangsters £4 million, plus interest. To make it clear that they mean business when it comes to getting their money back, they lock him inside a walk-in freezer for long enough for him to look like an icicle, before telling him he has a week to get them their money. At the end of the 2019 film, Mickey forces Matthew Berger (Jeremy Strong) into a freezer and tells him that he'll freeze to death unless he transfers him £270 million for trying to take over his business. Advertisement 2. The Glass family works out of a gym Once Eddie establishes a working relationship with Susie Glass (Kaya Scodelario), the drug dealer managing all the weed farms, he meets her and her brother Jack (Harry Goodwins) at a gym where the pair work out of. This is mainly because Jack is training as a boxer. It's a similar setup to what Coach (Colin Farrell) and his crew, called the Toddlers, had in the film. Coach keeps the gang in check by making them box. Advertisement 3. White Widow Super Cheese The weed being grown under the Halstead estate is managed by Jimmy (Michael Vu) an eccentric botanist with a taste for his own product. All the strains have different names, but the show name-drops one in particular: White Widow Super Cheese. It's the same strain of weed that Pearson sells in the movie, which raises the question of whether his organization is involved with the Glass family. But the Netflix show never provides an answer, maybe Ritchie will reveal more if Netflix gives the go-ahead for season two. Advertisement 4. Freddy's humiliation In the first episode, Eddie and Susie pay off Freddy's debts to Tommy Dixon (Peter Serafinowicz), one of the deputies in the Liverpudlian gang. But their agreement involves Tommy forcing Freddy to dress up in a chicken costume on camera and pretend to be a chicken. It's all about embarrassing the aristocrat so that he'll never get in debt with the gang again. The film also used a similar method of humiliation with newspaper editor, Big Dave (Eddie Marsan), who attempts to blackmail Pearson and ruin his business. As a way of quashing the potential threat, Coach and his gang kidnap and drug Dave, before forcing him to film a compromising video with a pig. It's never revealed what actually happened between Dave and the pig, but the squeals coming from the video paint a pretty horrifying mental picture. Advertisement 5. Stanley Johnston's meth business Eddie is determined to get his family out of the weed business throughout the whole series. In the first episode, he even flirts with the idea of selling his entire estate to a mysterious businessman, Stanley Johnston (Giancarlo Esposito), who is desperate to get his hands on the land. The sharp-suited Johnson wants to buy the estate because to get a slice of the Glass' business to grow his own lucrative empire. His organization sells meth, which is a clear nod to Esposito's infamous role as Gus Fring in "Breaking Bad," and "Better Call Saul." The ruthless drug kingpin in the AMC series makes Walter White (Bryan Cranston) and Jesse Pinkman (Aaron Paul) work for him from season 2, until his death at the end of season four. Advertisement 6. The barbecue and steak Susie might be the face of the weed business but it's her dad, Bobby Glass (Ray Winston), who's pulling the strings from his conveniently lenient prison. He might be locked up, but he's still living a good life, with access to a cosy outdoor veranda, complete with its own high-end barbecue. At the end of the second episode, Bobby hosts Eddie and Susie at the prison and cooks them some wagyu steak during their meeting. That veranda barbecue set up is similar to the one in Raymond Smith's (Charlie Hunnam) garden in the film. He even cooks wagyu steaks for a sleazy journalist, Fletcher (Hugh Grant). Advertisement 7. Mercy the car dealer has a similar job to Rosalind Pearson As Eddie gets pulled further into the underworld by Susie and her gang, he gets roped into carrying out a few criminal operations to help the business run like clockwork. That includes stealing a very expensive Lamborghini in episode three to smooth things over with an Albanian gang whose weed supply has been disrupted. The car in question is owned by Mercy (Martha Millman), a vicious car dealer who runs her own garage and dealership. It's a similar parallel to the women-only garage, run by Rosaline Pearson (Michelle Dockery) in the movie. Advertisement 8. Another blackmailing journalist Sure, Hugh Grant might be best known for playing charming English men in beloved romcoms including "Bridget Jones' Diary," "Love Actually," "Notting Hill," and "About a Boy." But in "The Gentlemen," he played sordid reporter Fletcher, who threatens to reveal the details of the weed operation unless he pays him £20 million. In the fourth episode of the series, another blackmailing journalist becomes a key part of the story. Frank (John Thomas) tries to squeeze money from Max Bessington (Freddie Fox) for his large collection of Nazi memorabilia — which includes Hitler's testicle. Advertisement 9. Caravan negotiations Episode five features a nod to one of Guy Ritchie's most famous movies, "Snatch," when Susie and Eddie try to negotiate with a group of travelers to help them ship some of the weed from the Halstead estate. As the travelers confer with each other in hushed tones, it's noticeably similar to the moment in "Snatch" where bare-knuckle boxer Mickey (Brad Pitt) tries to haggle with Turkish (Jason Statham) and Tommy (Stephen Graham) for a caravan in "periwinkle blue." Read next Netflix Advertisement
28270	yago	2	25	https://letterboxd.com/director/guy-ritchie/	en	Films directed by Guy Ritchie	https://s.ltrbxd.com/sta…are.a06cd562.png	https://s.ltrbxd.com/sta…are.a06cd562.png	[ "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty-poster-150.8e416b46.png", "https://s.ltrbxd.com/static/img/empty.f00c82c0.png" ]	[]	[]	[ "" ]	null	[]	null	Films directed by Guy Ritchie	en	https://s.ltrbxd.com/sta…6px.a8f34e0d.svg		https://letterboxd.com/director/guy-ritchie/	Guy Stuart Ritchie (born 10 September 1968) is an English film director, producer, writer, and businessman. Ritchie left school at age 15 and worked entry-level jobs in the film industry before going on to direct television commercials. In 1995, he directed a short film, The Hard Case, followed by the crime comedy, Lock, Stock and Two Smoking Barrels (1998), his feature-length directorial debut. He soon gained recognition with his second film, Snatch (2000), which also found critical and commercial success. Following Snatch, Ritchie directed Swept Away (2002), a critically panned box-office bomb starring Madonna, to whom Ritchie was married between 2000 and 2008. He went on to direct Revolver (2005) and RocknRolla (2008), which were less successful and received mixed audience reviews. In 2009 and 2011, he directed two box-office hits, Sherlock Holmes and its sequel, Sherlock Holmes: A Game of Shadows, respectively. The former was nominated for Academy Awards in Best Original Score and Best Art Direction. His other directed motion pictures are The Man From U.N.C.L.E. (2015), which is a remake of a 1960 spy series, King Arthur: Legend of the Sword (2017) and the live-action adaptation of Disney's Aladdin (2019). Aladdin earned more than $1 billion worldwide, becoming one of the highest-grossing films in 2019, and the 34th highest-grossing film of all-time during its theatrical run. In 2020, he returned to crime comedy with The Gentlemen (2019), which was mostly well received and a commercial success. In 2021, he directed Jason Statham in the action film, Wrath of Man.
28270	yago	2	33	https://thecosmiccircus.com/ministry-of-ungentlemanly-warfare-review-guy-ritchie/	en	Guy Ritchie’s Latest Gem: ‘The Ministry of Ungentlemanly Warfare’	https://thecosmiccircus.…try-banner-5.jpg	https://thecosmiccircus.…try-banner-5.jpg	[ "https://thecosmiccircus.com/wp-content/uploads/2023/06/new-cosmic-circus-banner.webp", "https://thecosmiccircus.com/wp-content/uploads/2023/06/new-cosmic-circus-banner.webp", "https://thecosmiccircus.com/wp-content/uploads/2024/05/Ministry-banner-5-1200x600.webp", "https://thecosmiccircus.com/wp-content/uploads/2024/05/Ministry-banner-5-1200x600.webp", "https://thecosmiccircus.com/wp-content/uploads/2024/05/hm21I7yc6oYBogTloET3eXsVPlq-scaled-e1716042526516.webp", "https://thecosmiccircus.com/wp-content/uploads/2024/05/hm21I7yc6oYBogTloET3eXsVPlq-scaled-e1716042526516.webp", "https://thecosmiccircus.com/wp-content/uploads/2024/05/obraz_2024-05-17_182334367-e1716042509713.webp", "https://thecosmiccircus.com/wp-content/uploads/2024/05/obraz_2024-05-17_182334367-e1716042509713.webp", "https://thecosmiccircus.com/wp-content/uploads/2023/12/SEASON-2-part-2-640x336.webp 640w,https://thecosmiccircus.com/wp-content/uploads/2023/12/SEASON-2-part-2-390x205.webp 390w,https://thecosmiccircus.com/wp-content/uploads/2023/12/SEASON-2-part-2-768x403.webp 768w,https://thecosmiccircus.com/wp-content/uploads/2023/12/SEASON-2-part-2.webp 1200w", "https://thecosmiccircus.com/wp-content/uploads/2023/12/SEASON-2-part-2-640x336.webp", "https://thecosmiccircus.com/wp-content/uploads/2024/05/Review-640x336.webp 640w,https://thecosmiccircus.com/wp-content/uploads/2024/05/Review-390x205.webp 390w,https://thecosmiccircus.com/wp-content/uploads/2024/05/Review-768x403.webp 768w,https://thecosmiccircus.com/wp-content/uploads/2024/05/Review.webp 1200w", "https://thecosmiccircus.com/wp-content/uploads/2024/05/Review-640x336.webp", "https://thecosmiccircus.com/wp-content/uploads/2024/05/Untitled-design-33-130x90.webp 130w,https://thecosmiccircus.com/wp-content/uploads/2024/05/Untitled-design-33-392x272.webp 392w", "https://thecosmiccircus.com/wp-content/uploads/2024/05/Untitled-design-33-130x90.webp", "https://thecosmiccircus.com/wp-content/uploads/2024/05/img_42238650039453252059665-130x90.webp 130w,https://thecosmiccircus.com/wp-content/uploads/2024/05/img_42238650039453252059665-392x272.webp 392w", "https://thecosmiccircus.com/wp-content/uploads/2024/05/img_42238650039453252059665-130x90.webp", "https://thecosmiccircus.com/wp-content/uploads/2023/07/discord.webp", "https://thecosmiccircus.com/wp-content/uploads/2023/07/discord.webp" ]	[]	[]	[ "" ]	null	[ "Wiktor Reinfuss" ]	2024-05-18T15:29:15+00:00	Wiktor Reinfuss shares his review of Guy Ritchie's The Ministry of Ungentlemanly Warfare, now in theaters and online!	en	https://thecosmiccircus.…907-150x150.webp	The Cosmic Circus	https://thecosmiccircus.com/ministry-of-ungentlemanly-warfare-review-guy-ritchie/	Share this: Guy Ritchie is one of my favorite directors, who makes movies with a real passion, and a unique Brit-humor. He made Sherlock Holmes, The Gentlemen, The Man from U.N.C.L.E., and many more movies that people are still talking about. So when the trailer for The Ministry of Ungentlemanly Warfare came out, I knew wanted to watch it as soon as I had a chance. [Warning: some spoilers for the film below] The Ministry of Ungentlemanly Warfare draws inspiration from history The Ministry of Ungentlemanly Warfare brings to the screen a very intriguing version of a real-life wartime exploits, drawing inspiration from Damien Lewis’ 2014 book Churchill’s Secret Warriors: The Explosive True Story of the Special Forces Desperadoes of WWII. But of course with some minor tweaks to make the story more paced, interesting and most important, more satisfying in the end to watch. The story is set in late 1941, at the height of World War II, when the United Kingdom was reeling under the relentless assault of Nazi Germany. Historical figures like Brigadier Colin “M” Gubbins (Cary Elwes) or Winston Churchill (Rory Kinnear) and the unconventional operatives of “Operation Postmaster” come to life in this narrative. Gubbins, with the covert backing of Prime Minister Winston Churchill, orchestrates a daring mission to disrupt Nazi U-boat operations on the Spanish-controlled island of Fernando Po. The mission, involving real-life characters such as Gus March-Phillips (Henry Cavill), Marjorie Stewart (Eiza González), Anders Lassen (Alan Ritchson) and Geoffrey Appleyard (Alex Pettyfer), is a mix of an audacity and ingenuity, showcasing the courage and tactical brilliance that characterized these wartime heroes. The narrative also shows a lot of involvement by Ian Fleming (Freddie Fox), whose experiences during the war would later inspire his creation of the iconic James Bond character. The movie starts with the introduction to our main characters, a group of people who hate Nazis. They have their own motivations, but will do everything possible to help the Alliance weaken the Germans. The leader of the team is Major Gus March-Phillips, who is the opposite of every role that Henry Cavill has played. He is a brute force in the team, and his job is to make sure that everyone does their job. Another member of the team that goes to Fernando Po is Henry Hayes (Hero Fiennes Tiffin), a young Irishman who is the best sailor they have on their team. Freddy Alvarez (Henry Golding) is their explosives specialist and a great swimmer. During the story, we see how skilled he is at his job and timing the explosions. The fourth person who joins the “Fernando Po journey” team is “The Danish Hammer” Anders Lassen. He is the bow and arrow specialist, prefers silent killings, but when everything around goes nuts, he does everything to kill Nazis, in very different, and unique ways. The last to join the team (after being rescued from the Nazis) is Geoffrey Appleyard (Alex Pettyfer). He has a brilliant mind, and the knowledge they need to sink the U-Boats and destroy the Dutchess, and hit the Nazis where it hurts. Geoffrey is their master planner, master survivor and “a surgeon with a blade” that’s why he’s perfect for the team. The second team that’s already on Fernando Po are actress and a singer Marjorie Stewart (Eiza Gonzalez) and Heron (Babs Olusanmokun). They are there to plan a distraction for the Nazis in order for the Gus’ team to sink the ship. They have a separate story arc in which we learn more about them, and how important they are. While a lot of characters in this movie are based on real-life historical figures, some of them, like Freddy, the big bad Nazi Commander Heinrich Luhr (Til Schweiger) or Heron were written strictly for this movie. Yet, they are an important part of this story and if you remove them from the equation, the whole story and character relations don’t work as well. An exciting story offered in The Ministry of Ungentlemanly Warfare The movie itself, at first glance is just a spy action comedy. But it is much more. Throughout the movie we can understand that this story is very important and needs to be heard. If it wasn’t for the diary of Winston Churchill, we wouldn’t even know that those events took place, and that those people were heroes. Clever dialogue, inspirations from previous projects and Ritchie’s signature humor, make this story even much better than I thought. The plot follows Gus and his team as they navigate treacherous waters to execute their sabotage mission. From rescuing a captured ally in the Nazi-controlled Canary Islands to outsmarting the SS commander Heinrich Luhr on Fernando Po, the film is a rollercoaster of suspense and action. Guy Ritchie’s way of telling the story by swiftly navigating between different places and story arcs makes it straightforward to follow what exactly is happening at the moment. While we see Gus’ team traveling through waters and escaping/hiding from Germans and Brits, we know that Ritchie is smoothly and reasonably keeping much of their screen-time for the third act full of action. For the most part, we can see how Marjorie’s seductive espionage and Heron’s past and contacts are highlights of this movie. The finale is really well done. There were no unnecessary cliché moments or the forced involvement of motives that we didn’t need to watch. It was perfectly balanced. Comparing it to previous Guy Ritchie’s movies, I have to say it’s one of those, that immediately, from the first second, I felt invested in watching it. When it’s over, I realized that I just spent 2 hours (that didn’t feel like it) and had a lot of fun. Which is a thing that can be said about many of Guy Ritchie’s movies. But The Ministry of Ungentlemanly Warfare is a project that doesn’t only satisfy viewers with its story and amazingly written characters, but also with the technical aspects of the film. Another masterpiece from Guy Ritchie Guy Ritchie is known for his distinctive style and penchant for blending action with humor, and brings this unique touch to The Ministry of Ungentlemanly Warfare. The film is a testament to his ability to create compelling narratives that combine realism with fast-paced and humorous storytelling. (such as seen in the Sherlock Holmes films and others). The action sequences in The Ministry of Ungentlemanly Warfare are choreographed in incredibly satisfying ways. They offer a visual spectacle that complements the story’s dramatic tension. Despite some narrative tweaks and a few short subplots, the film manages to keep the audience engaged with its fast-paced storytelling and charismatic performances, culminating in a thrilling third act. One last thing I love about this movie is the fantastic soundtrack composed by Chris Benstead, that encapsulates the nature and theme of the whole story. It’s a mix of a cowboy western music, with 20th / 21st century, spy thriller drama. And the main theme is something that I’ll be listening to for the rest of the month, every single day. This movie is definitely in my top three Guy Ritchie projects, and I have no doubt I’ll be rewatching it very, very soon. It’s a mix of The Magnificent Seven with The Gentlemen, The Man from U.N.C.L.E. and Inglourious Basterds, which already sounds like a perfect movie to watch. The Ministry of Ungentlemanly Warfare is in some theaters and is now available to stream on Prime Video, Apple TV, Vudu, and other streaming platforms. Have you seen it yet? What did you think? Let us know on social media @mycosmiccircus or in The Cosmic Circus Discord! 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28270	yago	0	92	https://www.hollywoodreporter.com/tv/tv-reviews/the-gentlemen-review-theo-james-guy-ritchie-1235833150/	en	‘The Gentlemen’ Review: Theo James Stars in a Guy Ritchie Netflix Series That Diverts but Never Dazzles	https://www.hollywoodrep…296&h=730&crop=1	https://www.hollywoodrep…296&h=730&crop=1	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/25cover.lores_.jpg?w=1154", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/25cover.lores_.jpg?w=1154", "https://www.hollywoodreporter.com/wp-content/uploads/2024/01/TG_101_Unit_00568_RT_TRL2.jpg?w=1296&h=730&crop=1", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/Alex-Gibney-Jane-Pauley-Split-2024.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/GettyImages-21676472321.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/stranger.jpg?crop=0px%2C3px%2C1092px%2C611px&resize=260%2C150", "https://www.hollywoodreporter.com/wp-content/uploads/2024/05/Anya-Taylor-Joy-getty-H-2024.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/uploads/2019/02/gettyimages-1071775784-h_2019.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/uploads/2016/08/gettyimages-464074455.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://cdn.shopify.com/s/files/1/0238/6647/products/2019_37_540x.jpg", "https://pixel.quantserve.com/pixel?a.1=&a.2=p-31f3D02tYU8zY" ]	[]	[]	[ "" ]	null	[ "Angie Han" ]	2024-02-26T21:31:18+00:00	Netflix's 'The Gentlemen' is a spinoff of Guy Ritchie's 2019 movie, with Theo James as an aristocrat who inherits his father's illegal drug business.	en	https://www.hollywoodrep…cons/favicon.png	The Hollywood Reporter	https://www.hollywoodreporter.com/tv/tv-reviews/the-gentlemen-review-theo-james-guy-ritchie-1235833150/	When Eddie Horniman (Theo James) first gets into the weed business, it’s not because he wants to. It’s because he’s just inherited his father’s estate, along with the criminal pact that’s secretly funded it all these years, and because he sees no other choice to pay off the astronomical debt that his big brother (Daniel Ings) owes to bloodthirsty cocaine dealers. Thus Eddie dives into the illegal-drug industry out of a sense of obligation, rather than out of any real eagerness to break bad. The show he’s in, Guy Ritchie‘s The Gentlemen, similarly feels like the dutiful product of a prior commitment. Like Eddie, the series tries to deliver what’s expected of it, and like Eddie, it more or less gets the job done. But where Eddie very quickly discovers he’s uniquely suited for the gig he never wanted, the action dramedy only occasionally brushes up against its full potential. It’s a decent bit of distraction that never becomes a fully engrossing piece of entertainment. Though it’s billed as a spinoff of the 2019 movie, also directed by Ritchie, Netflix’s The Gentlemen makes little reference to the events of that film and brings back none of the same characters. But it’s set in the same England, where the countryside is positively littered with ancient estates that double as a vast secret network of underground marijuana farms. And it’s adorned with the usual Guy Ritchie bag of tricks. There’s slow-motion and speed-ramping and playing about with time in general; this show loves to cut away from a dramatic moment only to cheekily circle back later. Bright captions explain British street slang or map out the characters’ schemes. Conversations tend to happen in snappy banter or dramatic monologues laden with jungle metaphors. But if you were wondering how an eight-hour season could possibly keep up the zippy energy of Ritchie’s two-hour crime capers, The Gentlemen suggests maybe it can’t. While the series goes through the motions, its heart doesn’t fully seem to be in them. In his most entertaining works, Ritchie’s flourishes create an air of such cool that it becomes the whole point: It hardly matters if the story or characters are all that deep when the vibes are this fun. Here, though, they’re deployed so perfunctorily that they become distractions. Bits of nonlinear storytelling feel like halfhearted attempts to spice up an uninspired plot, or to remind a half-attentive audience of what they’ve just seen. A few characters make a memorable impression, among them Vinnie Jones as an animal-loving groundskeeper and Michael Vu as a disarmingly sweet (and perpetually stoned) grower. But aristocratic Eddie is so smooth and slick he comes off as a blank slate. Indeed, a whole lot of The Gentlemen plays as a fainter echo of its predecessor. (Sometimes for the best — certainly, the decrease in casual anti-Asian racism is welcome.) Instead of tracksuit-clad toughs forcing a man to have sex with a pig, we get tracksuit-clad toughs forcing a man to act like a chicken. Instead of a poisoned foe projectile-vomiting, we have a poisoned foe huffing and turning red. Gnarly as some of those earlier choices might have been, they were designed to provoke a reaction. The TV versions are the tamer swings of someone who just wants to, as Eddie derides his upper-crust peers for doing, “[take] the money and [roll] over like a good little boy.” The do-over in The Gentlemen that improves on the original is the one that doubles down on its potential instead of shrinking from it. Susie Glass, the crime boss Eddie reports to, is essentially a carbon copy of Michelle Dockery’s Rosalind, from her cherry-red lips to her sky-high stilettos to her generally imperturbable air. But Kaya Scodelario, as a co-lead, gets far more room to shade in the character’s nuances than Dockery ever did. She carries the show with a dry confidence, and even James brightens in her presence — especially once plot machinations in the second half of the series threaten to upend their reluctant partnership for good. All of this makes her an ideal anchor for what turns out, amusingly, to be a story about the familiar headaches of running a business. Susie works for a boss (her father, played by Ray Winstone) who does not appreciate her vision, and alongside a hotshot new hire (i.e., Eddie) who has his own ideas about how things should be run. The plot of most episodes consists of Susie and Eddie flitting from one meeting to the next, trying to sort out distribution-chain problems or placate angry customers. It’s just that in their violent world, the solutions might involve stealing a Lamborghini or cozying up to a meth kingpin (played by Giancarlo Esposito as, basically, Gus Fring with a much bigger bank account). When The Gentlemen leans into that irony, it’s almost relatable. Following a particularly trying meeting, Susie recounts what happened to a colleague: “There were some minor disagreements about the deal structure, but Eddie here proved himself remarkably capable at arbitration. After the inevitable to-ing and fro-ing, we managed to iron out terms that were acceptable to all parties.” The joke is that her explanation plays over a flashback of Susie and Eddie engaging in a shootout with a Nazi in a secret underground tunnel. But her summary isn’t wrong, exactly. For all of Eddie’s skill at beating up bad guys, his true value is as a well-connected businessman. By the end of the season, even he’s come around to realizing that lording over a drug empire might be his true calling in life. If only The Gentlemen seemed as excited about that prospect as he does.
28270	yago	2	64	https://news.sky.com/story/backstage-with-guy-ritchie-on-his-latest-movie-operation-fortune-ruse-de-guerre-12851263	en	Backstage With… Guy Ritchie on his latest movie Operation Fortune: Ruse De Guerre	https://e3.365dm.com/23/…g?20230406135659	https://e3.365dm.com/23/…g?20230406135659	[ "https://news.sky.com/resources/sky-news-logo.svg?v=1", "https://news.sky.com/resources/sky-news-logo-dark.svg?v=1", "https://e3.365dm.com/23/07/75x75/skynews-claire-gregory-entertainment_6215242.jpg?20230711113346", "https://e3.365dm.com/23/04/768x432/skynews-jason-statham-aubrey-plaza_6112819.jpg?20230406135659", "https://e3.365dm.com/23/04/768x432/skynews-guy-richie-josh-hartnett_6112815.jpg?20230406135301", "https://e3.365dm.com/24/03/192x108/skynews-theo-james-the-gentlemen_6482812.jpg?20240308120909", "https://e3.365dm.com/17/05/192x108/85b7217574d69e177d00d10e5217d1c94b7153b0beb41510c036b27fbb696e97_3950177.jpg?20170510215513", "https://e3.365dm.com/23/04/768x432/skynews-hugh-grant-operation-fortune_6112824.jpg?20230406135549", "https://news.sky.com/resources/sky-spectrum-logo.png" ]	[]	[]	[ "" ]	null	[ "Claire Gregory" ]	2023-04-06T12:35:00+00:00	The director speaks to Sky News about how being "promiscuous" with his genres has led to increased confidence, and how he's enjoying film-making more than ever.	en	/resources/favicon.ico?v=2	Sky News	https://news.sky.com/story/backstage-with-guy-ritchie-on-his-latest-movie-operation-fortune-ruse-de-guerre-12851263	Guy Ritchie's first feature film Lock, Stock and Two Smoking Barrels came out in 1998 - a whopping quarter of a century ago. Now, 25 years later and with a canon of work including more crime capers, Sherlock Holmes movies and even a Disney live-action remake he's told Backstage - the film and TV podcast from Sky News - that he's enjoying his craft more than ever. "The older I get, the more I enjoy filmmaking, so you know, long may it last. "Experience has helped and I've been quite promiscuous with my genres, which has led to a sort of degree of confidence too, so I feel as though I can sort of play around a bit and enjoy the experience. "I'm not particularly stressed by the whole filmmaking business and I just really honestly enjoy being on set." Ritchie's latest film, Operation Fortune: Ruse De Guerre, sees a superspy trying to stop an arms broker from selling a deadly modern technology. The crime comedy has had a tricky route to release - shot in early 2021 it had been due to come out a year later, but was held back. Ritchie admits the wait has been frustrating. "Once you make something, you sort of want to get on with it… So, it's good that it's coming out [now]." The Operation Fortune cast includes Jason Statham, Josh Hartnett and Hugh Grant - all of whom Ritchie has worked with before. He says there are good reasons he chooses to work with the same actors across different projects. "You choose them because you like them, and then I suspect what I like in them is what everyone else likes in them - I don't think it's any more complicated than that. "And the other thing is, you just want to choose people that you enjoy working with for a couple of months because you do end up spending a lot of time with them. "So I'm prejudiced in wanting to like my actors also." And it seems the feeling is mutual. Click to subscribe to Backstage wherever you get your podcasts Grant - best known for playing foppish English gents in rom-coms - seems to be having a lot of fun playing the billionaire arms broker Greg Simmonds, and it's his third film with Richie. "I'm particularly keen on his performance in this, actually," Ritchie said of Grant. "I think his performance in this is actually better than it was in [their previous film] The Gentlemen. "I've made three films with him now, and I've enjoyed all of them - I think he's been very good in all of them, and I think if he keeps coming back, I hope I'm doing something right." Operation Fortune: Ruse De Guerre is streaming now on Prime Video.
28270	yago	2	48	https://www.ft.com/content/f4180c41-012c-4888-ab9d-b2e750514ccd	en	Subscribe to read	https://www.ft.com/__origami/service/image/v2/images/raw/ftlogo-v1%3Abrand-ft-logo-square-coloured?source=update-logos&format=svg	https://www.ft.com/__origami/service/image/v2/images/raw/ftlogo-v1%3Abrand-ft-logo-square-coloured?source=update-logos&format=svg	[ "https://www.ft.com/__origami/service/image/v2/images/raw/https://barrier-page-components.s3.eu-west-1.amazonaws.com/assets/icons/primary_product_icon_standard.svg?source=next-barrier-page&format=svg", "https://www.ft.com/__origami/service/image/v2/images/raw/https://barrier-page-components.s3.eu-west-1.amazonaws.com/assets/icons/primary_product_icon_premium.svg?source=next-barrier-page&format=svg", "https://www.ft.com/__origami/service/image/v2/images/raw/https://barrier-page-components.s3.eu-west-1.amazonaws.com/assets/icons/primary_product_icon_bundle.svg?source=next-barrier-page&format=svg", "https://spoor-api.ft.com/px.gif?data=%7B%22category%22%3A%22page%22%2C%22action%22%3A%22view%22%2C%22system%22%3A%7B%22source%22%3A%22non-ctm%22%7D%2C%22context%22%3A%7B%22name%22%3A%22barrier-page%22%2C%22product%22%3A%22next%22%2C%22data%22%3A%7B%22source%22%3A%22%5BSOURCE%5D%22%7D%7D%7D" ]	[]	[]	[ "" ]	null	[]	null			https://www.ft.com/__origami/service/image/v2/images/raw/ftlogo-v1%3Abrand-ft-logo-square-coloured?source=update-logos&format=svg		null	Then €69 per month. Complete digital access to quality FT journalism on any device. Cancel anytime during your trial.
28270	yago	0	51	https://www.rollingstone.com/tv-movies/tv-movie-reviews/operation-fortune-ruse-de-guerre-review-aubrey-plaza-jason-statham-guy-ritchie-bond-spy-1234687221/	en	Not Even Aubrey Plaza Can Save ‘Operation Fortune,’ Guy Ritchie’s Weak Stab at Bond	https://www.rollingstone…600&h=900&crop=1	https://www.rollingstone…600&h=900&crop=1	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif", "https://www.rollingstone.com/wp-content/themes/vip/pmc-rollingstone-2022/assets/public/lazyload-fallback.gif" ]	[ "https://www.youtube.com/embed/WdZ-BWWQcWQ?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent" ]	[]	[ "" ]	null	[ "David Fear" ]	2023-03-03T16:22:17+00:00	‘The White Lotus’ star is the only good thing about Guy Ritchie and Jason Statham’s D.O.A. attempt at starting a Bond-style franchise.	en	https://www.rollingstone…Favicon.png?w=32	Rolling Stone	https://www.rollingstone.com/tv-movies/tv-movie-reviews/operation-fortune-ruse-de-guerre-review-aubrey-plaza-jason-statham-guy-ritchie-bond-spy-1234687221/	Quick question: Have you seen The Man From U.N.C.L.E.? We don’t mean the popular TV show of the 1960s, in which Robert Vaughn and David McCallum surfed the era’s espionage-a-go-go wave and brought big Bond-style adventure to the little screen every week. We’re talking about the 2015 movie that wanted to replicate the series’ vintage spy-vs.-spy mojo, pairing Henry “Dude Cocks His Arms Like Shotguns!” Cavill and another gent whose name currently escapes us as a next-gen Napoleon Solo and Illya Kuryakin, respectively. Alicia Vikander and Elizabeth Debicki added complementary moxie and glamor. For something based on a boomer-nostalgia title and designed by nature to be a cash-in, this late-summer trifle was breezy, fun, and surprisingly great. The director? Guy Ritchie. But not the “Guy Ritchie” you’re thinking of, i.e. the filmmaker who gave us Lock, Stock and Two Smoking Barrels and burst onto the Nineties indie-import scene as a sort of cockney alt-Tarantino. That version of Ritchie turned out a number of stories involving lads and guns and slang and irony, before he eventually fashioned a parallel career as a studio gun for hire. He still made quirky crime films, though they were now more diminishing-returns deals than razzle-dazzle showcases. But Ritchie was also responsible for those steampunk-ish Sherlock Holmes blockbusters starring Robert Downey Jr. and the live-action Aladdin. They’re functional enough. His Man From U.N.C.L.E., however, suggested that with the right material, his one-for-them’s could be way more satisfying than his one-for-me’s. Operation Fortune: Ruse de Guerre — the title just rolls off your tongue, doesn’t it? — wants to be U.N.C.L.E. so badly. You can practically feel it yearning for that same ring-a-ding charm, the almost casual sense of old-school cool involving dapper tuxedos, luxury yachts, mustache-twirling megalomaniacs, and saving the world at the last possible second. It’s not afraid to throw in a little Bourne-style action, especially since it’s got brutish Brit brawler Jason Statham on board to ball up his fists and throw elbows, or add in some heist-flick flavoring to goose the jet-setting set pieces, either. We should apologize, because we’re making it sound cooler than it is. This isn’t the worst imitation Bond knock-off you’ll ever see; there are far worse offenders in that category. But Operation Fortune doesn’t do Ritchie, his collaborators (he cowrote the script with Ivan Atkinson and Marn Davies), or his cast any favors whatsoever. Editor’s picks And should Statham and Ritchie — who’ve helped boost each other’s careers from the very beginning, and have kept working together up through 2021’s Wrath of Man — believe there’s a franchise to be had in the continuing adventures of Orson Fortune, international man of mystery, please know we’re on bent knees, begging you to reconsider. Fortune is an agent for a top-notch British intelligence group that’s somewhere between black-ops and, say, charcoal-gray ops. A highly classified and extremely dangerous whatsit known only as “the Handle” has been stolen from Johannesburg. His boss (Cary Elwes) wants him to retrieve it straight away. Fortune’s teammates are: J.J. Davis (grime music legend Bugzy Malone), a utility player who specializes in “coms, guns, driving, diving, rapping, slapping, you name it”; and Sarah Fidel (Aubrey Plaza), an American computer whiz brought in to replace a former cohort (Peter Ferdinando) gone rogue. Who, it should be mentioned, is also after the M.I.A. item and has his own band of mercenaries to back him up. No one knows exactly what the Handle is, just that someone is going to sell it to the highest billionaire bidder. That means Fortune and friends need get in good with Greg Simmonds (Hugh Grant), world-renowned arms dealer and the gent brokering this black-market deal. The key to entering his world, you ask? Meet Danny Francesco (Josh Hartnett), movie star extraordinaire. Simmonds is a superfan, so Statham strong-arms his way into becoming this DiCaprio 2.0’s manager, and that gets everybody an invite into the inner circle, which means they can possibly find out…[yaaawwwnnnn] Sorry, we’re even getting bored just remembering all of this right now. Related It isn’t that we’ve seen all of this before, though we definitely have. It’s more like Operation Fortune: Yadda Yadda Etc. can’t seem to settle on a pace or a tone to string it all together, or marshal the sound and the fury and the funny and the action to enliven what is onscreen. Questionable decisions abound: Statham’s character is, we’re told, subject to a bunch of neuroses and phobias, none of which come in to play. The only payoff is that it requires him to ask for a lot of expensive bottles of wine, which… is this some kind of con? Or was it a way to add “character” to his character? We know the actor can nail a fight scene (see: the entire filmography of Jason Statham), yet when he does get to tussle with indistinguishable thugs, the sequences are over before they’ve begun. Maybe Hartnett was worried about offending real-life A-listers, but he doesn’t seem to be having fun with what’s essentially a license to throw tons of shade. Grant is having a ball playing the middle ground between ultra-rich sleazy and ultra-rich skeezy — except his whole shtick feels way too much like a reprise of his role in Ritchie’s The Gentlemen, only amid better scenery. Trending Not surprisingly, the only person here who seems to have partially understood the assignment was Aubrey Plaza. Her apparent goal: Be Aubrey Plaza in a cut-rate spy thriller-comedy. (That last hyphenated word should technically be in scare quotes.) Mission: possible — and accomplished. There’s the deadpan wit, the strained smile trotted out for creeps and cretins, some swanning around in gowns and luxury-wear that feels like a dry run for her White Lotus stint, and an innate intelligence accompanied by an over-it-all vibe. When she’s given a gun and Ritchie films her in a fishtailing muscle car, framed tight and firing off rounds, you can totally see why Aubrey Plaza: Action Hero might be a nice addition to her resume. Give the woman her own spy series. Pair her with Cavill and Vikander for an U.N.C.L.E. sequel. Make Plaza the new Bond, you cowards. Just quit doing her dirty by sticking her in disposable nonsense like this. It might be easier to dismiss all of this if it wasn’t for the Ritchie factor — he’s not a hack, even if his rock-star auteur days are behind him and, as The Gentlemen proved, that formula he perfected in the Nineties has not aged well. There are tiny glimpses of someone who has genuine chops behind the camera, almost but not quite enough to make you think that, given more time and focus, he could have made something out of these spare parts. Or maybe, just maybe, this whole botched Operation is designed to make his older, possibly lesser work look better. Come back, Snatch. All is forgiven.
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"https://media.distractify.com/brand-img/H4b_ZC3oo/1200x628/twister-cast-now-2-1721940036928.jpg", "https://live.screendollars.com/wp-content/themes/screendollars-live/assets/images/noactor.svg", "https://live.screendollars.com/wp-content/themes/screendollars-live/assets/images/noactor.svg", "https://live.screendollars.com/wp-content/uploads/2021/10/121020211634082508.jpeg", "https://live.screendollars.com/wp-content/uploads/2021/10/121020211634074575.jpeg", "https://live.screendollars.com/wp-content/uploads/2024/05/030520241714765769.jpeg", "https://live.screendollars.com/wp-content/themes/screendollars-live/assets/images/noactor.svg", "https://live.screendollars.com/wp-content/themes/screendollars-live/assets/images/sd_ftrlogo.png" ]	[]	[]	[ "" ]	null	[ "Guy Ritchie" ]	2021-10-12T22:53:42-04:00	Discover the dynamic career of Guy Ritchie, the acclaimed filmmaker known for his stylish and gripping movies. Explore his captivating journey in this insightful biography.	en		Screendollars	https://screendollars.com/biography/guy-ritchie/	Guy Ritchie (birthname: Guy Stuart Ritchie) is a brand unto himself as a British crime fiction moviemaker of hyper action and exaggerated macho violence, launching the careers of such macho-styled actors as Jason Statham and Vinnie Jones. Never a critics darling (and a multiple winner-nominee of the Razzie and Stinkers Bad Movie awards), Ritchie immediately established his style with his smash hit ($28 million gross) debut writing-directing feature, Lock, Stock and Two Smoking Barrels (1998), which probably remains his best-reviewed and most awarded movie co-starring Jones and Statham in their feature debuts, with Jason Flemyng, Dexter Fletcher, and Sting. Ritchie’s second, extremely similar movie was Snatch (2000), with Statham, Jones, Brad Pitt, Benicio del Toro, Dennis Farina, and Rade Šerbedžija, and was an even bigger hit with a global take of $83.6 million. Ritchie’s third feature, Swept Away (2002), was a disastrous and universally panned remake of Lina Wertmüller’s Italian movie, starring Madonna and Adriano Giannini, followed by a failed return (a weak $6.7 million return) to the crime genre with the panned Revolver (2005), co-written with producer Luc Besson, and starring Statham and Ray Liotta. Slightly more successful was writer-director Ritchie’s RocknRolla (2008), produced by Joel Silver and co-starring Gerard Butler, Tom Wilkinson, Thandiwe Newton, Mark Strong, and (in early film performances) Idris Elba, and Tom Hardy. Guy Ritchie reinforced his collaboration with producer Joel Silver for the $90 million big-budget hit, Sherlock Holmes (2009), on which he was director only, starring Robert Downey Jr., Jude Law, and Rachel McAdams, and grossing $524 million globally. The success spawned the sequel, Sherlock Holmes: A Game of Shadows (2011), again with Ritchie as director only, and stars Downey Jr., Law, and McAdams grossing $544 million. As director-writer-producer, Ritchie turned to a more modern franchise, a big-screen version of The Man from U.N.C.L.E. (2015), starring Henry Cavill, Armie Hammer, Alicia Vikander, and Elizabeth Debicki, but with middling box-office results ($107 million return). Again as director-writer-producer, Ritchie shifted back in the period to medieval fantasy with King Arthur: Legend of the Sword (2017), with Charlie Hunnam, Djimon Hounsou, and Law, though it failed to make back its big budget of $175 million. In a departure, Guy Ritchie (as writer-director) worked in lighter fantasy mode for his biggest box-office hit ($1.05 billion), Disney’s Aladdin (2019), with Will Smith, Mena Massoud, and Naomi Scott. In the same year, Ritchie enjoyed a second hit ($115.2 million) back in his familiar crime-comedy mode with The Gentlemen (2019), starring Matthew McConaughey, Charlie Hunnam, Henry Golding, and Michelle Dockery. Ritchie loosely adapted Nicolas Boukhrief’s French film, Le Convoyeur (2004) for the commercially successful ($104 million) heist movie, Wrath of Man (2021), reuniting with Jason Statham, Josh Hartnett, Raul Castillo, and Eddie Marsan, and then re-upped with Statham as well as regulars Hugh Grant, Josh Hartnett and new collaborators Aubrey Plaza and Cary Elwes for the spy comedy, Operation Fortune: Ruse de Guerre (2023), released theatrically by Lionsgate and then streaming on Amazon. Guy Ritchie shifted to the more serious mode of the contemporary war movie set during the U.S. war in Afghanistan with one of his best-reviewed movies, Guy Ritchie’s The Covenant (2023), starring Jake Gyllenhaal and Dar Salim, released by MGM in the U.S. (and on Amazon Prime internationally) with an 82% Rotten Tomatoes rating. In another departure from his crime movie brand, director-writer-producer Guy Ritchie turned to a true drama of World War II for The Ministry of Ungentlemanly Warfare (2024), produced by Jerry Bruckheimer and starring Henry Cavill, Eiza Gonzalez, Alan Ritchson, Henry Golding, and Cary Elwes.
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"https://ew.com/thmb/xxXv1MVlrEAboQvNk_yA9xiZIXE=/282x188/filters:no_upscale():max_bytes(150000):strip_icc()/joker-2-trailer-040924-2-e40a388e5f4b4e489c7790dc5136233a.jpg", "https://privacy-policy.truste.com/privacy-seal/seal?rid=66410a94-db48-4a68-8eae-de35e6397332" ]	[]	[]	[ "" ]	null	[ "Christian Holub", "www.facebook.com" ]	2020-01-26T00:00:00	5 signs you're watching a Guy Ritchie movie	en	/favicon.ico	EW.com	https://ew.com/movies/2020/01/26/5-signs-youre-watching-a-guy-ritchie-movie/	The Gentlemen, out this weekend, is the 11th feature film from Guy Ritchie. Though it follows franchise reboots like the live-action Aladdin and The Man From U.N.C.L.E. in the director’s recent filmography, The Gentlemen also bears a strong resemblance to Ritchie’s early work like Lock, Stock, and Two Smoking Barrels. Given those parallels, we decided to identify the signature signs that you’re watching a film directed by Ritchie. Plans within plans Everyone is scheming in a Ritchie movie. Whether they’re spies, criminals, or pickpockets, all his characters are always trying to come out on top of chaotic situations with lots of moving pieces. The Gentlemen has many players: Dry Eye (Henry Golding) is trying to seize Mickey Pearson’s (Matthew McConaughey) marijuana business out from under him at the same time that Mickey is trying to sell it to Matthew Berger (Jeremy Strong) while also avoiding the blackmail schemes of tabloid journalist Fletcher (Hugh Grant). Suffice to say, all the pieces get scrambled multiple times and no one ends up quite where they expected to. Sometimes these machinations are beautifully clean, such as in the climax of Snatch when Mickey O’Neil (Brad Pitt)’s Irish Travellers turn the tables on gangster Brick Top (Alan Ford) right at his assumed moment of triumph. Sometimes they’re messy, like in Lock, Stock, and Two Smoking Barrels when the two incompetent criminals hired by Barry the Baptist (Lenny McLean) to steal the titular shotguns end up dying in a fatal confrontation with Barry after a case of mistaken identity. And sometimes these plans are very compact: Sherlock Holmes (Robert Downey Jr.) can win fistfights just by running quick calculations in his head. It’s not until his confrontation with Professor Moriarty (Jared Harris) in Sherlock Holmes: A Game of Shadows that Holmes realizes he’s not the only one who does this. At that point, it becomes a contest to see who can outthink the other fastest on top of the Reichenbach Falls. Shirtless fist-fighting Characters in Ritchie films spar with words as often as they fight with fists, but when it is time for bare-knuckle brawling, they don’t hold back — and rarely keep their shirts on. This makes sense in the context of Snatch, which focuses on the world of underground boxing. When Brad Pitt’s Irish Traveller boxer Mickey O’Neill takes his shirt off, that’s when you know he’s not holding back anymore. But even Ritchie’s Sherlock Holmes likes to take his shirt off for boxing matches to clear his head. Charlie Hunnam’s titular protagonist of King Arthur: Legend of the Sword might not have held a sword before pulling Excalibur from its stone, but he did learn to fight by (you guessed it) shirtless fist-fighting with his fellow lost boys on the streets of Londinium. One woman allowed It must be said: Ritchie’s films are heavy on testosterone. Released one year after Fight Club, Snatch also boasted a shirtless Brad Pitt but lacked a female presence on the level of Helena Bonham Carter’s Marla Singer. The Gentlemen has Michelle Dockery’s Rosalind Pearson, but she is the only major female character in the main cast. It was the same for Àstrid Bergès-Frisbey in King Arthur: Legend of the Sword, though her character didn’t even get a name; she was referred to solely as “The Mage.” In an interesting twist, last year’s Aladdin was an exception to this Ritchie trend. Princess Jasmine (Naomi Scott) was given more independence and characterization than she got in the 1992 animated original, as well as her own new song. On top of that, she even got a female best friend in the form of new character Dalia (Nasim Pedrad). Guys are ridiculously strong Ritchie has not yet directed a superhero movie, but many of his characters exhibit physical strength almost on the level of superpowers. The first meeting between Napoleon Solo (Henry Cavill) and Illya Kuryakin (Armie Hammer) in The Man From U.N.C.L.E. features Illya chasing Napoleon’s car on foot and nearly catching up. But though he doesn’t catch the car, Illya does manage to rip its trunk off, horrifying Napoleon to such an extent that he initially refers to the KGB operative as “it” in his report to CIA superiors. In Snatch, Mickey earns his nickname “One-Punch” by consistently knocking out massively built opponents with a single blow, something you wouldn’t guess from his lean physique. Charlie Hunnam’s Arthur seems like a normal human…until he’s got Excalibur in his hand. The sword is bound to his bloodline so only Arthur can wield it, and when he does, he can send dozens of men flying through the air with a single slash. Icons of British Literature Within the span of a decade, Ritchie directed films about both Sherlock Holmes and King Arthur, two of the biggest titans in British literature. Those characters have been interpreted and reinterpreted endless times over the course of their careers, and Ritchie put his own spin on them. His Arthur (played by Hunnam) was raised on the streets of medieval London by prostitutes and criminals, and his Holmes (Downey) prefers working-class neighborhoods to the academic finery of his rival Professor Moriarty. Ritchie even adds British imprints to stories from outside his country’s canon: The Man From U.N.C.L.E. is based on an American show about CIA and KGB agents forced to cooperate, but Hugh Grant’s MI6 agent Alexander Waverly turns out to be one of the most influential players of all. Related content:
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With Richard Gere, Julia Roberts, Ralph Bellamy, Jason Alexander. Edward, a rich entrepreneur, hires Vivian, a prostitute, to accompany him to a few social events. Trouble ensues when he falls in love with her and they try to bridge the gap between their worlds.	en	https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/title/tt0100405/	Vivian: People put you down enough, you start to believe it. Edward Lewis: I think you are a very bright, very special woman.
28270	yago	0	10	https://thebrandhopper.com/2024/01/15/a-case-study-on-bmw-the-hire-brand-campaign/	en	A Case Study on BMW’s “The Hire” Brand Campaign	https://thebrandhopper.c…ire-Campaign.jpg	https://thebrandhopper.c…ire-Campaign.jpg	[ "https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_1920,h_1152/https://thebrandhopper.com/wp-content/uploads/2024/01/BMW-The-Hire-Campaign.jpg", "https://thebrandhopper.com/wp-content/uploads/2024/01/BMW-The-Hire-Campaign.jpg", "https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_96,h_96/https://thebrandhopper.com/wp-content/uploads/2020/09/41-412833_working-colleagues-clipart-150x150.png", "https://thebrandhopper.com/wp-content/uploads/2020/09/41-412833_working-colleagues-clipart-150x150.png", "https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_1000,h_600/https://thebrandhopper.com/wp-content/uploads/2024/08/ALS-Associations-Ice-Bucket-Challenge-Campaign.jpg", "https://thebrandhopper.com/wp-content/uploads/2024/08/ALS-Associations-Ice-Bucket-Challenge-Campaign.jpg", "https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_1160,h_653/https://thebrandhopper.com/wp-content/uploads/2024/08/Burger-Kings-Whopper-Detour-Campaign-1160x653.jpg", "https://thebrandhopper.com/wp-content/uploads/2024/08/Burger-Kings-Whopper-Detour-Campaign-1160x653.jpg", "https://sp-ao.shortpixel.ai/client/to_auto,q_glossy,ret_img,w_1160,h_653/https://thebrandhopper.com/wp-content/uploads/2024/08/DALL·E-2024-08-19-00.47.58-A-dynamic-and-symbolic-image-showing-a-large-correctly-spelled-American-corporate-brand-logo-being-overshadowed-by-correctly-spelled-logos-of-emergin-1160x653.webp", "https://thebrandhopper.com/wp-content/uploads/2024/08/DALL·E-2024-08-19-00.47.58-A-dynamic-and-symbolic-image-showing-a-large-correctly-spelled-American-corporate-brand-logo-being-overshadowed-by-correctly-spelled-logos-of-emergin-1160x653.webp" ]	[]	[]	[ "" ]	null	[ "Team TBH" ]	2024-01-15T00:00:00	Delve deep into the case study of BMW - The Hire campaign. Read how BMW redefined branded entertainment and drove audience engagement	en	https://sp-ao.shortpixel…parent-32x32.png	The Brand Hopper	https://thebrandhopper.com/2024/01/15/a-case-study-on-bmw-the-hire-brand-campaign/	Launched in 2001, BMW’s “The Hire” was a revolutionary online film series that redefined automotive advertising. Instead of traditional commercials, it featured eight action-packed short films starring Clive Owen as “The Driver,” highlighting the performance and handling of various BMW models through exciting narratives. This case study analyzes the campaign’s marketing and branding strategies, its impact on the automotive industry, and its continued relevance today. About the Campaign In 2001 and 2002, BMW embarked on an innovative marketing endeavor with “The Hire,” an online series comprising eight short films. The central character, portrayed by Clive Owen as “The Driver,” became the face of the campaign, emphasizing the high-performance features of various BMW cars. The first season introduced viewers to captivating narratives, such as in “Ambush,” where The Driver ingeniously outplays armed thieves while escorting an elderly man. Another notable installment, “Chosen,” directed by Ang Lee, involved different scenarios. Each film, helmed by renowned directors like John Frankenheimer, Wong Kar-wai, and Guy Ritchie, added a cinematic flair, elevating the campaign beyond typical advertising. BMW’s strategic online presence played a pivotal role. Recognizing that 85% of customers shopped online before purchasing cars, the series was exclusively released on the BMW Films website. Premiering at the prestigious Cannes Film Festival provided a platform for global recognition and heightened the series’ perceived value. The impact on BMW’s sales was substantial, experiencing a noteworthy 12% increase in 2001. Over 11 million views in just four months and two million registrations on the website underscored the campaign’s popularity and success in reaching a wide audience. Distribution strategies included the production of DVDs for customers, leading to high demand and eventual depletion. Collaborations with Vanity Fair and DirecTV extended the series’ reach, making it accessible to a broader audience and solidifying its position as a groundbreaking marketing approach. The second season in 2002 introduced a shift in focus, featuring films like “Hostage” and “Ticker.” Unlike the first season, which showcased various BMW cars, the second season emphasized the then-new BMW Z4 Roadster, aligning with the brand’s evolving product lineup. After a 14-year hiatus, BMW revived “The Hire” in 2016 with “The Escape,” featuring Clive Owen once again. This revival demonstrated BMW’s commitment to innovation and its understanding of the enduring appeal of the campaign. In 2023, BMW released “The Calm,” starring Pom Klementieff and Uma Thurman, further extending the legacy of “The Hire.” The series, viewed over 100 million times in four years, has left an indelible mark on product advertising, showcasing the brand’s ability to create engaging and influential content. This ongoing commitment to the series exemplifies BMW’s adaptability and sustained influence in the marketing landscape. Marketing Strategies Shifting Focus to Online Audience: Recognizing the growing internet audience, BMW targeted them directly with online distribution through their website and partner sites. This pioneering move established them as a leader in embracing new media. Storytelling over Features: Instead of dry product features, “The Hire” told engaging stories with the car as a central element. This emotional connection resonated deeply with viewers, creating a lasting association between BMW and thrilling experiences. Celebrity Power: Clive Owen’s charisma and acting prowess added star power to the campaign, making “The Hire” feel like a mini-Hollywood blockbuster. High-Production Value: Featuring renowned directors like John Frankenheimer and Guy Ritchie, the films boasted cinematic quality, captivating viewers with their action sequences and visual aesthetics. Word-of-Mouth Marketing: The internet’s virality played a crucial role. The short films were shared, discussed, and praised online, generating organic buzz and amplifying the campaign’s reach. Branding Impact Sophistication and Performance: “The Hire” solidified BMW’s image as a brand for discerning individuals who appreciate refined luxury and driving excellence. Emotional Connection: The action-packed narratives transcended product demonstration, creating an emotional connection with viewers through shared experiences of excitement, danger, and escape. Digital Pioneer: BMW proved to be a leader in understanding and utilizing the potential of online platforms for brand storytelling. Content Marketing Benchmark: “The Hire” became a benchmark for content marketing, inspiring brands across industries to create engaging narratives around their products. Challenges and Lessons High Costs: Producing eight short films with Hollywood-level standards was expensive, requiring a significant financial commitment. Measuring ROI: Attributing sales directly to the campaign was challenging due to its online nature and long-term brand-building focus. Maintaining Momentum: Following up on the success of “The Hire” proved difficult, leading to a hiatus and later revival with mixed results. Continued Relevance Despite its early 2000s origin, “The Hire” remains relevant today. Its focus on engaging storytelling, online distribution, and premium experience aligns perfectly with modern marketing trends. Its success is a testament to the power of understanding your audience, embracing new media, and creating high-quality content that resonates emotionally. Conclusion BMW’s “The Hire” stands as a landmark campaign, revolutionizing automotive advertising and influencing marketing across industries. It demonstrated the power of storytelling, the potential of online platforms, and the importance of aligning brand values with target audiences. While challenges existed, the campaign’s influence remains undeniable, inspiring companies to this day to push boundaries and create engaging brand experiences. Also Read: A Case Study on Budweiser: “Wassup?” Brand Campaign
28270	yago	2	3	https://www.vulture.com/article/best-guy-ritchie-movies-ranked.html	en	Every Guy Ritchie Movie, Ranked	https://pyxis.nymag.com/…social.w1200.jpg	https://pyxis.nymag.com/…social.w1200.jpg	[ "https://assets.nymag.com/media/components/customer-alert-banner/alert.svg", "https://assets.nymag.com/media/components/customer-alert-banner/double_chevron.svg", "https://assets.nymag.com/media/components/customer-alert-banner/close_x.svg", "https://pyxis.nymag.com/v1/imgs/de2/ba4/7147d133883cc04c3973e7f848f3c865d8-1724Cov-4x5-Pets.w240.jpg", "https://pyxis.nymag.com/v1/imgs/6b9/2f3/5ba0a1149a76d32b39408c0b74dbbffe3d-guy-ritchie-films.rsquare.w400.jpg", "https://pyxis.nymag.com/v1/imgs/64e/7d8/2d4154515cda5e1629defbea76693eab3f-mp-DNC713.2x.rsquare-zoom.w75.jpg", "https://pyxis.nymag.com/v1/imgs/d54/99d/fef9e32805761c42dc8607fafa7492f13e-mp-DNC671.2x.rsquare-zoom.w75.jpg", "https://pyxis.nymag.com/v1/imgs/c1d/8f4/9761d5d4d1642afcb92903528f9ee42cb0-VS--Hulu-BroadCity-S5E10BroadCity-12-03-.2x.rsquare-zoom.w75.jpg", "https://pyxis.nymag.com/v1/imgs/f79/111/129738d26e9ba0fb957e3e794310468d8f--Lil-Jon-dnc.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/6dc/654/dfc521e819a4fb808f277e9e9ddbd2113e-Alexis-Bellino.rsquare.w536.png", "https://pyxis.nymag.com/v1/imgs/afb/3f1/557226d0aed56cb0af99c22fb26028f4a0-south-park.rsquare.w536.png", "https://pyxis.nymag.com/v1/imgs/571/1a5/92593aee8a9c6036882e1184732ceb2eb4-cinematrix-archive.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/d33/0db/9bae1e60e63d64d362f6e945a2abbdeb32-Megalopolis.rsquare.w536.png", "https://pyxis.nymag.com/v1/imgs/5c5/5f5/54a1fe13fe32d893d3f1651edd67d7e666-love-island-usa.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/ec2/2f8/cea1c76154bab5c653a73506ca8db110d6-sunny-episode8.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/0eb/520/d4a5367beac8e0ac338167733ba7de0477-megalopolis.rsquare.w536.png", "https://pyxis.nymag.com/v1/imgs/224/45b/9c0ba409bfe24de1f5be9af09f856b9bb1-goth-canon.rsquare.w536.jpg ", "https://pyxis.nymag.com/v1/imgs/d5a/0a4/3a3969c38c91eb01748b9b852f316ad556-vampire-hunter-d-bloodlust.rsquare.w536.gif", "https://pyxis.nymag.com/v1/imgs/52c/cb3/bec4c9550e24049c484bbbe5948fe00d9b-chapell-sabrina.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/13f/b70/942e5d67e52fb3a7dd8ae56d98f0dfe9a5-love-is-blind-ep11.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/7b4/86a/77e2d52e7dec493945087e368c5c75c96d-crossword-8-21-2024.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/501/f50/480aa7192283fc4688acc6b309ff5fce24-cinematrix-8-21-2024.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/5ef/9c7/de94f103fbd9d62322910ca2725b764ee1-bennifer.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/277/c64/ef003c1650282f42c44f53cac587e83b14-tony-kerry-scandal.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/8d1/79d/0660524fabb9ebd2128c9f9974f19df4f8-sir-ian-mckellen.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/28e/32d/c087291cb413730c0da28df30ca2e13afb-bennifer2.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/360/29f/b2623a786d03de40f7effeb8b8dd207ec2-taylorswift.rsquare.w536.jpg", "https://pyxis.nymag.com/v1/imgs/0d3/27c/d616e1414f140366e2c0bee363811e7297-rhod-ep11.rsquare.w536.png" ]	[]	[]	[ "" ]	null	[ "Tim Grierson", "Will Leitch" ]	2021-05-10T17:00:55.295000-04:00	Guy Ritchie has directed an impressive array of tough-guy movies. We’ve ranked them all, including his latest, ‘The Ministry of Ungentlemanly Warfare.’	en	https://assets.vulture.c…e/icon.76x76.png	Vulture	https://www.vulture.com/article/best-guy-ritchie-movies-ranked.html	This article was originally published on May 10, 2021. It has been updated with the addition of Guy Ritchie’s most recent films, including The Ministry of Ungentlemanly Warfare. It is honestly difficult to come up with a modern filmmaker with a weirder, almost nonsensical, career than Guy Ritchie’s. How in the world does the person who made Snatch and Lock, Stock, and Two Smoking Barrels even live on the same plane of human existence as the person who made Aladdin? And this is to say nothing of the movie he made starring his then-wife Madonna. Ritchie’s high-energy macho style is, obviously, not for everyone, which is another reason it’s so remarkable that he has transitioned so easily to big-budget Hollywood movies, from the Sherlock Holmes films to Aladdin, by far his biggest hit. But it makes a certain amount of sense because Ritchie’s movies, even the better ones, aren’t really about anything. They are pure sensation, style for the sake of style. That’s not always a terrible thing: At his best, his flicks have the rush of whippets … even if they come with the accompanying loss of brain cells. The guy knows how to make a movie move, and that comes in handy, even if you’re just painting Will Smith blue. It’s not a particularly coherent career. But as his blue-collar blokes might say: It’s a living. Here, a ranking of Ritchie’s films, from worst to best. 15. Swept Away (2002) Considering how obsessed tabloids were with the marriage of Madonna to the tough-guy Brit auteur — and how much of a Sisyphean task it would be to remake Lina Wertmüller’s notorious 1974 film with one of the most famous women on the planet — Ritchie could have made an absolutely perfect film and odds are that critics would have torn it apart anyway. Well, uh, Swept Away is pretty much the opposite of perfect, so you can imagine how that went. Much of the critical vitriol was saved for Madonna, and to be clear, she is definitely not great in this, but what’s most striking is how limp and slack Ritchie’s screenplay and direction are. One would think a married couple’s supposed passion project would have some sort of oomph behind it, but this is as sleepy a movie as Ritchie is capable of making. It’s not actually the worst film ever made. But for most of its running time, though, it sure does feel that way. 14. Revolver (2005) Madonna and Ritchie’s relationship lasted more than eight years and produced two seemingly happy, lovely children, but, boy, were the movies he made during that era duds. This one isn’t worse than Swept Away, but it may be the more annoying movie, as Ritchie attempted to fuse the tough-guy brashness of his first two films with his new pseudo-philosophical Kabbalah obsessions. The result is an entirely incoherent crime thriller that features gangsters prattling on about the self and the ego and the soul and then occasionally wandering into an entirely different scene where other gangsters are prattling on about the same thing. (This movie would totally get beaten up by Ritchie’s first two movies.) Revolver is almost purposely impossible to follow, and it’s not clear what Ritchie is even trying to accomplish. He seems to have realized the extent of his misfire here, and you could argue he spent the rest of his career trying to make as many people as possible forget it ever existed. Mission accomplished? 13. King Arthur: Legend of the Sword (2017) Coming out at a time when every even halfway recognizable piece of intellectual property was trying to be spun into a franchise, King Arthur: Legend of the Sword is emblematic of all the downsides to that approach. Charlie Hunnam plays Arthur, who must rise to glory Gladiator style after his evil uncle (Jude Law) wrests away control of the kingdom following his dad’s killing. There’s some of the patented Ritchie showmanship, but mostly you get the same boring ingredients that are cynically mixed together whenever a studio smells a new cinematic universe: Legend of the Sword is a gritty reboot that’s also a dark origin story, all so that we’re set up for the sure-to-be sequel to come. (Oh man, wait till we get to see that Round Table in part two!) No doubt Warner Bros., which had previously hired Ritchie to do the same thing for Sherlock Holmes, hoped lightning would strike twice. That didn’t happen: This film bombed, ending any hope of further installments. More depressingly, it felt like Ritchie was trying to will a blockbuster into existence; he has rarely seemed so self-conscious in his approach. 12. Operation Fortune: Ruse de Guerre (2023) Well, the notion of Ritchie doing a Bond movie doesn’t sound like a horrible idea, and it might not have been if Ritchie really had the energy to do one. Instead, this oft-delayed, mostly hidden release feels drowsily DOA, with Jason Statham sleepwalking and smirking through a dull heist story that never once rouses from its slumber. Hugh Grant gives it the old college try with a Cockney accent as the villain, but a movie-star subplot never gets off the ground, perhaps because the movie star is played by Josh Hartnett and everybody knows Josh Hartnett isn’t a movie star. Ritchie’s dialogue is oddly lazy here, as if he were trying to set up a franchise more than making a movie. (It doesn’t work.) Ever wonder if it was possible for Aubrey Plaza to be dull in a movie? Somehow, it is. 11. Aladdin (2019) After the commercial and critical failure of his King Arthur movie, you could understand why Ritchie would go for a surefire hit as his follow-up. But that rationale does little to minimize how bizarre it was to learn that he’d be doing a live-action Aladdin — or to watch the actual film. A proud member of that vast, underwhelming category of bearably mediocre blockbusters, this remake of the ’90s smash has the same issue as so many of Disney’s redos: It mimics the plotline of the original but fails to summon up the same magic. Aladdin looks as expensive as it no doubt was to make, and, sure, Will Smith is mildly endearing as the genie. As for the rest of the cast members, they barely register, and Ritchie’s attempt to pump up the spectacle and comedy fall flat. The man is best when his characters are a bit scabrous, which is the exact opposite of what you want from a Disney film. (Not that its creative limitations mattered: The thing made $1.1 billion.) 10. The Ministry of Ungentlemanly Warfare (2024) Not to be confused with The Gentlemen (his 2019 film) or The Gentlemen (his 2024 Netflix series inspired by his 2019 film), The Ministry of Ungentlemanly Warfare takes us back to World War II, when the British assembled a rogues’ gallery of crooks, killers, and scoundrels for a top-secret mission deep within Nazi-occupied Africa in order to blow up some boats. This ho-hum action-comedy is led by Henry Cavill, who (as he demonstrated previously in The Man From U.N.C.L.E.) has just the right flippant/debonair attitude for this sort of high-style nonsense, but, beyond his marvelous facial hair, the character is a total zero. Same goes for the rest of the ensemble, who all seem to be auditioning for a Quentin Tarantino movie. Whatever your feelings about Tarantino, give the Oscar winner this: His genre subversions and outrageous digressions are far livelier and more inspired than anything Ritchie concocts here. Alternate title: Indistinguishable Basterds. 9. Sherlock Holmes: A Game of Shadows (2011) Ritchie is a maximalist by nature, and a part two in a franchise always tries to top the original. So you can imagine what A Game of Shadows was like: It’s way bigger than the already supersize first installment, but not necessarily better. (And losing Rachel McAdams’s comic spark was a disappointment — she’s barely in the movie.) Jared Harris makes for a compelling Moriarty, and Downey and Law maintain their bro-y chemistry, but the novelty of Ritchie’s reimagining of Sherlock Holmes can’t help but feel a bit stale on the second go-round. He wouldn’t make another film for four years, which makes sense: After churning out two of these in a row, you’d probably need a break to recharge the batteries. 8. Guy Ritchie’s The Covenant (2023) People don’t usually turn to Guy Ritchie movies for profound insights into the human condition, but with The Covenant he has crafted a heartfelt drama about an American soldier (Jake Gyllenhaal) and an Afghan interpreter (Dar Salim) who become friends, only for the American to learn how his government mistreats the Afghan locals who risked their lives to help the U.S. during the occupation. It’s a damning story worth telling, but perhaps unsurprisingly, The Covenant works best when Ritchie falls back on the things he does well — namely, blowing stuff up. When it comes to character development or political commentary, the movie unfortunately feels a lot less confident. Putting his name in the title doesn’t help matters either, suggesting a self-seriousness and pride of authorship that haven’t been earned. 7. RocknRolla (2008) The last film Ritchie made while married to Madonna, it feels like a conscious effort for Ritchie to get back to basics. In this case, that’s just getting a bunch of British actors together to do some British-gangster shit, and while the movie is hardly inspired — it really does feel like Ritchie actively reminding himself how to make a movie after the flops Swept Away and Revolver — he is helped by some terrific actors. Do you want to watch Tom Wilkinson just do British-gangster shit for two hours? Who wouldn’t, right? You can just line them up: Gerard Butler, Mark Strong, Idris Elba, Toby Kebbell, Thandiwe Newton, and, of course, Tom Hardy, playing a man named “Handsome Bob.” This is all ridiculous and familiar, but you can sort of sense Ritchie stretching his legs and starting to feel like himself again. RocknRolla plays like an audition to get to make bigger movies again, and one has to say: It worked. 6. Wrath of Man (2021) If you were only watching the trailers for this Jason Statham thriller — trailers that essentially scream, “Aren’t you ready to get back to the theaters and KICK SOME ASS??!! — you might think this is a cheeky return-to-form for both Ritchie and Statham, a giddy over-the-top thrill ride. And while there are some colorful gangsters with colorful names, what’s perhaps most surprising about Wrath of Man is how serious and dark it is. This is a straight-up revenge saga, with Statham as a father out to wreak havoc on the men who killed his teenage son, and the movie, after a jokey stage-setting intro, mostly eschews Ritchie’s usual quips and one-liners. This is basically Ritchie’s version of Heat, a crime drama about a driven, tortured man who won’t stop until everyone who has wronged him is dead. Ritchie brings a grim professionalism to the project as well as a shifting timeline and a solid cast (including Andy Garcia, Holt McCallany, Scott Eastwood, Josh Hartnett, and Jeffrey Donovan) that makes the movie feel a little more interesting than it really is. But it’s solidly done and efficient, even if nothing much sticks to the ribs. 5. Sherlock Holmes (2009) Before Ritchie got his hands on him, the predominant image of Sherlock Holmes was that of a brainy, witty, slightly effete detective — certainly you didn’t picture him as a bare-knuckle bruiser. Sherlock Holmes changed all that, casting Robert Downey Jr. as a Holmes whose mind is as quick as his fists. As part of the film’s supercharged style, Ritchie switches to slo-mo so that we can hear Holmes’s thought process as he, say, strategizes how best to pummel his opponent in the boxing ring. Downey was ascending to superstardom at this time thanks to Iron Man, and Sherlock Holmes landed at the perfect time, showing off his muscular physique and sharp comic timing. (And Law is a fine foil as Watson.) Pitched to the multiplex masses, this Sherlock Holmes is too overblown and earsplitting to capture the nuance of Arthur Conan Doyle’s hero, and all told, it’s engaging enough while feeling rather anonymous. But it was fun to see Ritchie, who had never operated with a budget of this level, pulling out all the stops. 4. The Gentlemen (2019) Writing about RocknRolla, Roger Ebert said, “British actors love playing gangsters as much as American actors love playing cowboys,” and The Gentlemen is just further proof, especially how the tradition seems to be passed down from generation to generation. What was once Mark Strong and Idris Elba is now Charlie Hunnam and Henry Golding. (Americans Matthew McConaughey and Jeremy Strong get to play this time, too.) This movie feels too much like Ritchie playing his greatest hits, but he’s more comfortable this time, less desperate to prove himself. The result is almost … well, not relaxed, exactly, but certainly at ease in his own skin. Ritchie will likely be making movies like this — just like this — when he’s 94. 3. The Man From U.N.C.L.E. (2015) For years, this big-screen remake of the 1960s spy series languished, with Steven Soderbergh and George Clooney briefly involved in an adaptation before stepping aside. Then Ritchie came onboard and delivered a stylish, gorgeous-looking Cold War romp, pairing Henry Cavill and Armie Hammer as mismatched government operatives who must work together to stop an underground criminal syndicate. This involves joining forces with the daughter (Alicia Vikander) of a missing scientist, setting the stage for secret identities, cover stories, and lots of fabulous outfits. Because it opened in the dog days of August — usually a dumping ground for studios — The Man From U.N.C.L.E. was presumed to be a failure before anyone had even seen it. (Plus, no offense, but Ritchie isn’t quite up to Soderbergh’s level.) As a result, this remake has been hailed in some quarters, regarded as unfairly maligned and celebrated for its breezy, sexy cast. (There’s also Elizabeth Debicki as a suave Nazi.) Neither a disaster nor a misunderstood masterpiece, The Man From U.N.C.L.E. finds Ritchie having a total blast with the throwback material, adrenalizing the ’60s settings with cutting-edge action spectacle. Ultimately, it’s all a little too shallow and disposable, but you won’t feel bad giving it a try on a lazy Sunday afternoon. 2. Lock, Stock, and Two Smoking Barrels (1998) When Ritchie made his directorial debut with this brash, badly behaved crime comedy, it was constantly compared to Trainspotting and the films of Quentin Tarantino. Funny thing about that, though: “Danny Boyle I have no interest in whatsoever,” Ritchie said at the time, adding that he’d never seen Reservoir Dogs, “[a]nd now I’m past the point where I’m too frightened [to] see the fucking thing.” (He also didn’t have much of anything nice to say about another British crime film, The Krays, declaring, “I thought [it] was terrible. I always felt if I made The Krays, I would have made a fucking good film.”) That kind of impolitic talk is appropriate for a young hotshot determined to take on the world — just like Lock, Stock, and Two Smoking Barrels thumbs its nose at your delicate sensibilities, giving us a bunch of gangsters, crooks, lowlifes, and card sharps who trade potshots when they’re not meting out violence. It’s a heist film in which the atmosphere and attitude are most important — and you can’t say Ritchie didn’t have an eye for talent. Vinnie Jones and Statham got their starts here, and in a sense so did a specific strain of laddish British crime flick that would attract a worldwide audience and make Ritchie a household name. 1. Snatch (2000) Snatch was well reviewed when it came out, but the central criticism of it was that it was too similar to Barrels, even reusing similar plot points. Eventually, 20-plus years later, everyone would realize all of Ritchie’s crime movies were basically riffs on the same thing, slightly different variations of the same song, and that helps one appreciate that Snatch is probably the Platonic ideal of what Ritchie is trying to do: You’ve got colorful characters with crazy names (“Mullet,” “Brick Top,” “Doug the Head”) screaming and bashing people’s heads in and getting themselves into impossible situations, not being even close to intelligent enough to find their way out. Snatch is the funniest and most kinetic of all Ritchie movies and the least self-conscious: He is just flooring it, and good for him. It also features, gloriously, Brad Pitt’s boxer Mickey O’Neil, a character not in Ritchie’s original script who just shows up and — because Pitt couldn’t master a London accent — mumbles gibberish before destroying everyone in his path. Nothing about O’Neil, the “pikey,” makes a lick of sense, but wow, does he seem like an absolute gas to play.
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"https://prd-rteditorial.s3.us-west-2.amazonaws.com/wp-content/uploads/2023/10/21093952/600InglouriousBasterds.jpg", "https://prd-rteditorial.s3.us-west-2.amazonaws.com/wp-content/uploads/2022/08/20105332/The_Social_Network-600x314-1.jpg", "https://prd-rteditorial.s3.us-west-2.amazonaws.com/wp-content/uploads/2023/05/19115031/Upcoming_Disney_Acolyte-Rep.jpg", "https://prd-rteditorial.s3.us-west-2.amazonaws.com/wp-content/uploads/2024/05/13141120/600AlienRomulus3.jpg", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg" ]	[]	[]	[ "" ]	null	[]	null	See Guy Ritchie's best movies, including Lock, Stock, and Two Smoking Barrels, Sherlock Holmes, The Man From U.N.C.L.E., and more.	en	https://editorial.rottentomatoes.com/wp-content/themes/RottenTomatoes/static/images/icons/favicon.ico		https://editorial.rottentomatoes.com/guide/all-guy-ritchie-movies-ranked-by-tomatometer/	Who had a more explosive directorial debut in the rollicking, post-Pulp Fiction ’90s than Guy Ritchie with his Lock, Stock, and Two Smoking Barrels? The stylish, gritty descent into the criminal underworld rocked both sides of the Atlantic, which then gave Ritchie the opportunity to give his style an even slicker, international sheen with Snatch. So synonymous is Ritchie with this style and subject matter that no matter where his career takes him, whenever he returns to this topic it’s always celebrated as a back-to-basics comeback. RocknRolla, for example, helped sweep away the sour tastes of Swept Away and Revolver. And now The Ministry of Ungentlemanly Warfare, The Gentlemen and Wrath of Man have arrived as counterpoint to the blockbuster bombast of Aladdin and King Arthur: Legend of the Sword. (Though certainly Sherlock Holmes and The Man From U.N.C.L.E. found a happy, kinetic medium between these two extremes.) The Covenant, became his highest-rated movie in 2023. —Alex Vo #1 Guy Ritchie's The Covenant (2023) 83% #1 Adjusted Score: 89157% Critics Consensus: A satisfying, well-acted war thriller with surprising dramatic depths, Guy Ritchie's The Covenant tells a solid story with impressive restraint. Synopsis: Guy Ritchie's The Covenant follows US Army Sergeant John Kinley (Jake Gyllenhaal) and Afghan interpreter Ahmed (Dar Salim). After an... [More] Directed By: Guy Ritchie #2 The Gentlemen (2019) 75% #2 Adjusted Score: 89475% Critics Consensus: It may not win writer-director Guy Ritchie many new converts, but for those already attuned to the filmmaker's brash wavelength, The Gentlemen stands tall. Synopsis: Mickey Pearson is an American expatriate who became rich by building a highly profitable marijuana empire in London. When word... [More] Directed By: Guy Ritchie #3 #3 Adjusted Score: 78687% Critics Consensus: Lock, Stock, and Two Smoking Barrels is a grimy, twisted, and funny twist on the Tarantino hip gangster formula. Synopsis: Eddy (Nick Moran) convinces three friends to pool funds for a high-stakes poker game against local crime boss Hatchet Harry... [More] Directed By: Guy Ritchie #4 Snatch (2000) 74% #4 Adjusted Score: 79577% Critics Consensus: Though perhaps a case of style over substance, Guy Ritchie's second crime caper is full of snappy dialogue, dark comedy, and interesting characters. Synopsis: Illegal boxing promoter Turkish (Jason Statham) convinces gangster Brick Top (Alan Ford) to offer bets on bare-knuckle boxer Mickey (Brad... [More] Directed By: Guy Ritchie #5 #5 Adjusted Score: 79834% Critics Consensus: Cranking up a true story of derring-do into a high-octane action flick that's heavy on spectacle if not suspense, The Ministry of Ungentlemanly Warfare is another solid entry into Guy Ritchie's pantheon. Synopsis: Based upon recently declassified files of the British War Department and inspired by true events, THE MINISTRY OF UNGENTLEMANLY WARFARE... [More] Directed By: Guy Ritchie #6 Sherlock Holmes (2009) 70% #6 Adjusted Score: 80166% Critics Consensus: Guy Ritchie's directorial style might not be quite the best fit for an update on the legendary detective, but Sherlock Holmes benefits from the elementary appeal of a strong performance by Robert Downey, Jr. Synopsis: When a string of brutal murders terrorizes London, it doesn't take long for legendary detective Sherlock Holmes (Robert Downey Jr.)... [More] Directed By: Guy Ritchie #7 Adjusted Score: 82362% Critics Consensus: The Man from U.N.C.L.E. tries to distract from an unremarkable story with charismatic stars and fizzy set pieces, adding up to an uneven action thriller with just enough style to overcome its lack of substance. Synopsis: At the height of the Cold War, a mysterious criminal organization plans to use nuclear weapons and technology to upset... [More] Directed By: Guy Ritchie #8 Wrath of Man (2021) 68% #8 Adjusted Score: 81153% Critics Consensus: Wrestling just enough stakes out of its thin plot, Wrath of Man sees Guy Ritchie and Jason Statham reunite for a fun, action-packed ride. Synopsis: A mysterious and wild-eyed new cash truck security guard (Jason Statham) surprises his coworkers during a heist in which he... [More] Directed By: Guy Ritchie #9 RocknRolla (2008) 60% #9 Adjusted Score: 65666% Critics Consensus: Mixed reviews for Guy Ritchie's return to his London-based cockney wideboy gangster movie roots, but most agree, it's a step in the right direction following two major turkeys. Synopsis: Old-school mobster Lenny Cole (Tom Wilkinson) rules London's underworld with an iron fist and a score of well-greased palms. As... [More] Directed By: Guy Ritchie #10 #10 Adjusted Score: 69136% Critics Consensus: Sherlock Holmes: A Game of Shadows is a good yarn thanks to its well-matched leading men but overall stumbles duplicating the well-oiled thrills of the original. Synopsis: When Austria's crown prince is found dead, evidence seems to point to suicide. However, detective Sherlock Holmes (Robert Downey Jr.)... [More] Directed By: Guy Ritchie #11 Aladdin (2019) 57% #11 Adjusted Score: 77709% Critics Consensus: Aladdin retells its classic source material's story with sufficient spectacle and skill, even if it never approaches the dazzling splendor of the animated original. Synopsis: Aladdin is a lovable street urchin who meets Princess Jasmine, the beautiful daughter of the sultan of Agrabah. While visiting... [More] Directed By: Guy Ritchie #12 #12 Adjusted Score: 59081% Critics Consensus: Operation Fortune can't keep up with the best modern action movies, but it's got just enough firepower for viewers seeking a few undemanding thrills. Synopsis: In the film, super spy Orson Fortune (Jason Statham) must track down and stop the sale of a deadly new... [More] Directed By: Guy Ritchie #13 #13 Adjusted Score: 46175% Critics Consensus: King Arthur: Legend of the Sword piles mounds of modern action flash on an age-old tale -- and wipes out much of what made it a classic story in the first place. Synopsis: After the murder of his father, young Arthur's power-hungry uncle Vortigern seizes control of the crown. Robbed of his birthright,... [More] Directed By: Guy Ritchie #14 Revolver (2005) 15% #14 Adjusted Score: 16869% Critics Consensus: In attempting to meld his successful previous formulas with philosophical musings, Guy Ritchie has produced an incoherent misfire. Synopsis: Jake Green is a hotshot gambler, long on audacity and short on common sense. Jake served seven years in jail... [More] Directed By: Guy Ritchie #15 Swept Away (2002) 6% #15 Adjusted Score: 8036% Critics Consensus: Muddled and lacking the political context of the original, Swept Away offers further proof that Madonna can't act. Synopsis: Imagine being shipwrecked on a beautiful island -- with someone you really can't stand. A young soldier (Adriano Giannini) is... [More] Directed By: Guy Ritchie
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"https://d1ko11x0ybxl0h.cloudfront.net/shotsmag/production/templating/1550655670363/slate-logo-white.svg", "https://d1ko11x0ybxl0h.cloudfront.net/shotsmag/production/templating/1541151879400/source-logo.svg", "https://d17mj1ha1c2g57.cloudfront.net/v1/QPMv4PY59TsHUikpEntUQ3bDHCc/1200x630%23/80/shotsmag/production/news/1571999460461/hire.jpg?v=1&quality=70&format=jpeg", "https://d17mj1ha1c2g57.cloudfront.net/v1/wCBywLStncBWSwIdgzlSD7tf-3Y/1200x675%23/80/shotsmag/production/news/1571999460461/hire.jpg?v=1&quality=70&format=jpeg" ]	[]	[]	[ "" ]	null	[]	null	Nearly 20 years ago a car campaign changed the playing field not just for the automotive sector but for advertising as a whole. Joel Meadows revisits BMW's The Hire to examine the tread marks it has left on the industry.	en	https://d1ko11x0ybxl0h.c…9223/favicon.png	shots	https://shots.net/news/view/how-bmws-the-hire-ushered-in-a-new-era	The car commercial space is still one of the biggest in adland. According to stats from a 2017 report from Zenith, the US spends $180 billion a year on car advertising while the UK is the fifth largest market, with companies spending $12 billion on ads. Car commercials have been a part of the ad landscape for decades, but in 2001 a series of BMW films called The Hire, starring Clive Owen, raised the bar for the level of detail, budget and sheer ambition. The Hire was a starting point and a benchmark for content marketing, not only for the automotive industry but overall. The campaign was created by Fallon Minneapolis and headed by David Lubars, who’s now Chairman and CCO at BBDO Worldwide, gives a few clues as to what they were thinking when they conceived the campaign: “Even back then the potential BMW customer was watching less TV and spending more and more time online. It was simply a case of let’s go where they are.” Above: Clive Owen and Madonna feature in Guy Ritchie's Star. Fallon brought in A-list Hollywood director David Fincher to helm the films, but Fincher then suggested that they should break the campaign up into separate films and bring in a series of high-profile directors to helm them. He also suggested prominent figures like Madonna, Don Cheadle and Gary Oldman to appear in them. They even created a dossier to flesh out Owen’s character, and the final list of directors reads like a who’s who of Hollywood and international talent past and present: Ang Lee (Crouching Tiger, Hidden Dragon), John Frankenheimer (The Manchurian Candidate), Wong Kar-Wei (Chungking Express), Guy Ritchie (Snatch) and Alejandro Gonzalez Inarritu (Birdman). In fact, the films weren’t even really seen as commercials by BMW, former Anonymous Content chairman Steve Golin, who died earlier this year, told Shoot a few years ago: “The good news is that these weren’t commercials. We had very few restrictions. The budgets were equivalent to [those of] high-end commercials”. Without quality and innovation to help it cut through to the customer, brand messages are lost and budgets wasted. The Hire is remembered as a high-water mark for the idea of what a car commercial could be, but, in 2019, Lubars isn’t sure of the scale of its impact. “I’m not sure what shadow it’s cast,” he says. “It was certainly completely new and it took hold strongly in the culture.” However, The Hire certainly helped them commercially. They saw sales of their cars go up by 17 per cent by 2002, and it didn’t hurt Clive Owen’s career either. Above: Clips from Joe Carnahan's Ticker, featuring Don Cheadle, and John Woo's Hostage. There is no question that without the impact of The Hire a company such as Carnage, which specialises in car commercials and car advertising, and was set up in 2016 by David Van Der Gaag and Ben Hampshire, would not have existed. Piggy Lines was a creative partner at Spark44 and then Keko London and he joined in 2018 as creative partner, excited by the prospect of what the company - and the sector - could offer. Entertainment is arguably now the most effective way of communicating core brand values and brand difference in a market saturated with the same reliability features and pricing. “This is the most exciting time for people prepared to innovate new models and approaches,” Lines says. “As the media model continues to change and audiences move to online and subscription spaces, brand requirements will shift too. Earning consumer time will become more important than disrupting it. At the same time, film and content opportunity is growing, but without quality and innovation to help it cut through to the customer, brand messages are lost and budgets wasted.” You write a simple, core truth that can be flexed across channels. You can't start with the script, you have to start with the idea. Hampshire, Carnage’s MD, sees The Hire as work that still has a huge influence on the concept of what a car commercial is now. “The BMW films are often referenced; big budget, big Hollywood directors and big storylines but, most importantly, ‘audience in’ not just ‘brand out’,” he explains. “So, [those films] can be credited with a new approach to brand messaging that is important now, with multiple channels and the imperative to give audiences value for time. Entertainment is arguably now the most effective way of communicating core brand values and brand difference in a market saturated with the same reliability features and pricing.” Above: Beat the Devil, starring Gary Oldman and James Brown, directed by Tony Scott. Hampshire also sees these films as offering something different to which car commercials can aspire: “Perhaps they showed the industry what was possible, mixing entertainment with advertising,” he continues. “They didn’t really sell to the masses and, ultimately, BMW moved away from them [but] it has made it easier. It shows what is possible. These core [green] values are only slowly emerging in automotive advertising, mainly because the mainstay of most brand’s multi-billion-dollar global fleets is still the internal combustion engine. "The mix of new media and the ability to engage the consumer is brilliant. The complexity of doing it while making it work globally makes it much harder. We don’t live in an English-only world. Villains and Dragon Challenge for Range Rover prove you can do it again, and do it better. What has changed is the kind of idea you write. You write a simple, core truth that can be flexed across channels. You can't start with the script, you have to start with the idea.” Jann-Philipp Jahn, CEO of Grey Deutschland, sees The Hire as having a huge influence, not just on car commercials, but on the general concept of what a commercial should be. “The Hire was a starting point and a benchmark for content marketing, not only for the automotive industry but overall,” he says. “In retrospect, the series was even more impactful back then, because Netflix and co were not flooding the market with self-produced series. The need to plant brands into consumers' reality and create interesting and engaging content is more important than ever, as our media consumption has changed fundamentally. We are moving, more and more, out of traditional media and advertising and cannot reach the consumer the same way as we used to. It is time for communication to achieve a change of mind: don’t be afraid of change, be it, and benefit from it, and experience a very powerful way of driving while driving electric. "When content creates an emotional connection with a consumer, that cannot be measured in short term sales figures. But smaller brands are still hesitant to spend big parts of their marketing budget on one project, as they need to ensure their awareness exposure. A project like The Hire does require a big marketing budget, and not many brands can afford those projects. But Grey Deutschland believe that it does not require that much.” Above: Dragon Challenge for Range Rover and Jaguar's British Villains Rendezvous. However, things have changed since the BMW films and, these days, green issues play a more major role in how car companies promote their product. “Sustainability and responsibility are going to be central to all mobility brands,” says Carnage’s Hampshire. “But these core values are only slowly emerging in automotive advertising, mainly because the mainstay of most brand’s multi-billion-dollar global fleets is still the internal combustion engine, even in the Hybrid ranges - and this won’t change any time soon. Battery supply, range and charging infrastructure are further complications in getting us all into electric vehicles despite the emergence of a host of new EV brands.” Jahn sees that consumers are more savvy these days, and they won’t just accept commercials featuring a pretty looking car driving on mountain roads. David Lubars echoes this increased emphasis on green issues: “We work with Ford so I can say, for them, it’s a major focus for the company, extraordinarily important.” Jahn believes that new technology has always played an integral part in promoting car brands but car companies have a unique opportunity to guide consumers through the jungle of different brands on offer in this more complex world in which we live: “All car brands are electric now, but the infrastructure – at least in Germany – is still not there to host as many electric vehicles as are on offer. Amongst the jungle of electric power stations that are hosted by many [road side] services, with different types of powers and recharge timings, every brand develops their own strategy through an app or with its own power stations to find an easy way of navigating through the new era of drive. Nobody buys a car — which is an expression of self and status — if they dislike what the brand stands for. "But for the consumer, being used to quick petrol availability everywhere, this is still very confusing – and those who don't want to be electric pioneers better stick to what he or she knows. Now it is time for communication to achieve a change of mind: don’t be afraid of change, be it, and benefit from it, and experience a very powerful way of driving while driving electric.” Above: Clips from Ang Lee's Chosen and John Frankenheimer's Ambush. Jahn sees that consumers are more savvy these days, and they won’t just accept commercials featuring a pretty looking car driving on mountain roads. A concept needs to be better realised, he believes. “Shiny car commercials are not enough nowadays,” he says. “Consumers are more alert and have a sense of responsibility. Topics such as the environment, efficiency, family and safety have become important, but at the same time [consumers] still have the wish of having fun, and they need recognition from their peers. To bridge this gap with the right mix of brand and product communication is our task as a communication agency.” Shiny car commercials are not enough nowadays. Consumers are more alert and have a sense of responsibility. Topics such as the environment, efficiency, family and safety have become important. “People in Germany want to see the product in a car commercial – they are hungry for great car shots and driving scenes, yet we need to communicate the DNA of the brand to excite them,” Jahn continues. “Because, let’s be honest, nobody buys a car — which is an expression of self and status — if they dislike what the brand stands for. The emotional connect to a car brand is more important than ever as, for example, the products of premium car brands don’t differentiate that much in their feature offering.” Car commercials will continue to be one of the largest sectors in the advertising industry and the ride, in a way, has just begun. BMW’s The Hire set the bar very high for what a car commercial could be and the industry has relished the challenge to create even better quality material since. Car commercials will continue to be one of the largest sectors in the advertising industry and the ride, in a way, has just begun.
28270	yago	3	13	https://www.pajiba.com/film_reviews/who-keeps-hiring-akiva-goldsman-to-ruin-movies.php	en	Who Keeps Hiring Akiva Goldsman To Ruin Movies?	http://www.pajiba.com/assets_c/2017/08/Akiva%20Goldsman-thumb-700x394-183522.jpg	http://www.pajiba.com/assets_c/2017/08/Akiva%20Goldsman-thumb-700x394-183522.jpg	[ "http://b.scorecardresearch.com/p?c1=2&c2=20407962&cv=2.0&cj=1", "https://c.statcounter.com/343740/0//1/", "https://www.pajiba.com/image/2022/hebdo.jpeg", "http://www.pajiba.com/assets_c/2017/08/Akiva%20Goldsman-thumb-700x394-183522.jpg", "https://www.pajiba.com/assets_c/2024/03/2024OscarsFashionOldHollywood-thumb-700xauto-261089.jpg" ]	[ "https://www.youtube.com/embed/YkTHtWX7CCY", "https://www.youtube.com/embed/DBSj1MKwx6A" ]	[]	[ "Who Keeps Hiring Akiva Goldsman To Ruin Movies?", "When you watch as many films as I do", "you get used to badness. A truly bad film can be a fascinating viewing experience", "like a photo negative that shows everything that can and will go wrong in the very..." ]	null	[ "Kayleigh Donaldson" ]	2017-08-07T13:20:00-05:00	When you watch as many films as I do, you get used to badness. A truly bad film can be a fascinating viewing experience, like a photo negative that shows everything that can and will go wrong in the very...		/apple-touch-icon.png	Pajiba	https://www.pajiba.com/film_reviews/who-keeps-hiring-akiva-goldsman-to-ruin-movies.php	When you watch as many films as I do, you get used to badness. A truly bad film can be a fascinating viewing experience, like a photo negative that shows everything that can and will go wrong in the very expensive, incredibly time-consuming world of Hollywood and beyond. Every movie requires ridiculous amounts of people working their hardest under smothering circumstances and the expectations of countless fans, scouring the internet for a smidgen of news. That’s partly why it’s so disappointing when you finally see something you’ve waited years for and it barely rises above the level of ‘meh’. At least absolute chaos is entertaining, and the industry seems impossibly dedicated to repeating its mistakes as many times as it can get away with. It may not be great art to keep hiring the same people with proven track records of mediocrity, but as long as the money keeps rolling in, who the hell cares? I have a good understanding of how the industry works, and I know that the utopian ideal of a creative meritocracy is complete fantasy, yet I will never get over the crushing reality that is the continuing success of Akiva Goldsman. The mere mention of his name attached to promising projects fills me with the weight of disappointment. When it was announced that he’d be taking over the reins of Star Trek: Discovery from TV idol Bryan Fuller, it felt like a cruel joke, like the worst possible outcome you could imagine for such a show. I will be able to succinctly explain cold fusion before I can ever understand how Goldsman not only gets paid millions of dollars to write movies but convinced his esteemed colleagues in the Academy to award him with a freaking Oscar. The Razzies mount up, the reviews seldom rise above ambivalent, but Goldsman is still there cashing the cheques and dipping his toes into every piece of source material you love. I mean, did you see the reviews for The Dark Tower? Hollywood is saturated with ‘just good enough’ people. It’s an industry where you can go from hairdresser to Oscar winning producer (hi, Jon Peters), and there are plenty of terrible creatives behind the camera spoiling the things you love who you will never hear about. Scripts themselves don’t tend to be one-person shows, and will go through re-writes, punch-ups and doctoring. Carrie Fisher of all people was one of the field’s most wanted script doctors, polishing up everything from The Wedding Singer to The Young Indiana Jones Chronicles. Even picking on a screenwriter feels a tad mean given their place on the movie pecking order, somewhere between key grip and animal trainer. Yet even knowing all that, there’s something about Goldsman that cannot help but inspire derision. Few people of his stature have their name attached to so many major projects, have received such critical mauling for their work in them, and still been granted the opportunity to do more damage. Much of Goldsman’s career is defined by good connections and even better timing. His first major screenplay credit (shared with Robert Getchell), The Client, was an adaptation of the John Grisham novel, directed by fellow critical punching bag Joel Schumacher. It was generally well received and made over $117m. Granted, this was at a point where Grisham was the biggest writer in the world and adaptations of his work were raking in the dollars. Not even Joel Schumacher could spoil that, and so a partnership was born, as the pair would reunite for the 1996 Grisham movie A Time To Kill, another box office success with respectable reviews. Never mind that, in the interim period, Goldsman had his first flop, Silent Fall. It all weighed out evenly enough. Silent Fall is of that unfortunate genre of thriller where autism is used insensitively as a plot device. Nothing about the film worked, much less the script, and it made back around a tenth of its $30m budget. Roger Ebert called the plot ‘torturously constructed’, which seems to be a common mark of Goldsman’s work: Structuring and plotting that veers between nonsensical and just lazy. Plot holes? Try a veritable highway of bottomless pits. The next stop for Goldsman was the golden goose of Batman himself. After Tim Burton had helped to establish the franchise and legitimise comic book movies as a major means of artistic and financial gain, the studio knew that this was a pit they could potentially mine for the rest of our time on earth. Warner Bros. believed that Batman Returns, Burton’s follow-up to the first film, failed to out-gross its predecessor because of its darker, phantasmogorical tone, which put off families and younger children. To ease these fears, Schumacher’s films are more inspired by the 1960s TV series and that era of the comic books - colourful, slyly self-aware, the Batman of the flower power years. That was the intent, anyway. Batman Forever isn’t a great film, but it’s reasonably watchable. It’s broader, brighter and entirely aimed at selling toys to kids. Every performance is amped up to the maximum limit of gurning, and the script (which Goldsman wrote with Lee and Janet Scott Batchler) is like a pun-cannon working on overload. Working under the studio mandate of ‘dumb it down and sell it to the dumb kids’ isn’t the best environment for creative flourishment. Then again, many writers have done far better work under far worse circumstances. Giving Goldsman the benefit of the doubt that this was really the best Batman movie he could have made at the time, and given that it did make money and sell a lot of plastic action figures, having him return for Batman and Robin would, in an abstract sense, seem reasonable. Having said that, reason doesn’t enter the equation when it comes to Batman and Robin, a movie that redefined the concept of ‘so bad it’s good.’ This is no mere pun machine of a movie - this is the Tesseract of puns, each deeper and more mind-boggling than the last. Every Mr Freeze ice pun is exquisite torture, somewhere between bad children’s birthday party entertainer and drag queen revue. Half the time, you can’t believe what you’re hearing and are convinced it’s all some twisted social experiment on the futile exercise of artistic expression in Hollywood. It’s not, of course. It’s just hack work. It killed the Batman franchise on the big screen for several years until Christopher Nolan came along, got Goldsman a Razzie nomination (shockingly his only one, and he didn’t even win it), and sank any hopes of further comic book movies for the time being. Goldsman, to his credit, did come to some kind of realisation as to why his work on the film was significantly subpar. “I sort of got lost. I was writing away from what I knew. It’s a little like a cat chasing its tail. Once you start making movies that are less than satisfying, you start to lose your opportunity to make the satisfying ones. People are not serving them up to you, saying, ‘You’re the guy we want for this.’” That seems candid enough, but people were still giving Goldsman work, and major work at that. The next year, Lost in Space was released, meeting a similarly dismissive critical and commercial response. Practical Magic has a nostalgic warmth to it, but doesn’t stand up to much scrutiny (it was also a big flop). Goldsman’s style, if it can be called that, is all over these movies: Perfunctory dialogue, plodding plotting, characters sketched out hazily and with no emotional centre, and sometimes just plain lazy writing. There are leaps of logic in Lost in Space that defy human comprehension. It manages to be even cheesier than the TV show it’s based on, but completely lacking the sincerity. Like many of Goldsman’s films, watching it becomes a chore. All of this in the context of blockbuster and mainstream crowd-pleasing cinema, which is mostly Goldsman’s domain, is one thing. Now apply that to a concerted effort to garner prestige. Take all of that ineptitude and insert it into a narrative tailor-made to appeal to archaic notions of worthiness. That brings us to A Beautiful Mind, which may be the single-worst Best Picture winning film that isn’t called Crash. Everything about this soulless biopic is engineered to extract tears and awards, but that still does little to explain its baffling success. Every decision it makes is either exhaustingly predictable or incomprehensible in its lack of logic. It’s a story where subtlety does not enter the dictionary. Everything is turned up more and more to the point where you can’t help but look for the bat-nipples. At least that would be fun. A Beautiful Mind is too tedious for fun. Bad films win Oscars all the time. Merit only enters the equation of the Academy when it’s convenient to do so. A film made explicitly to get an Oscar for Ron Howard - a man who would aid and abet Goldsman’s continuing domination as much as Joel Schumacher - was always going to appeal to the right voters. Still, in a year where the competition included Ghost World, In The Bedroom, and the first Lord of the Rings movie, Goldsman’s win not only feels baffling; it’s strikingly undeserved. Akiva Goldsman doesn’t have a Razzie, but he does have an Oscar. Oh what a world… To be fair to Goldsman - shocking, I know - not everything he has done has been bad. Cinderella Man, another Howard collaboration, works the wheels a little too hard to evoke Frank Capra but it’s otherwise a strong sports biopic; he has several credits as a writer and director on Fringe, including some popular episodes; The Da Vinci Code and Angels & Demons aren’t good but they’re knowingly cheesy pot boilers that make excruciating source material easy to digest. That doesn’t justify the $3m he got for writing the former, but at least he was fairly compensated for having to repeatedly read renowned author Dan Brown. It took until 2014 for Goldsman to make his directorial debut, and he aimed big with his choice of source material: Imagine an epic romantic drama spanning decades and melding with fantasy and an epic battle of heaven and hell; a beloved novel previously set to be filmed by Martin Scorsese, but it proved too tough for the maestro; a story of impeccable earnestness that would offer a misunderstood creator the chance to show just how passionate he was about his craft. Say what you want about Winter’s Tale, but it doesn’t do anything by halves. Winter’s Tale is amazing in its sheer strangeness. Nothing works but everything is engrossing as a result. Everyone involved turned up on set each morning and completely committed to this grandiose tale of love, flying horses, and devil Will Smith. It’s super easy to mock, but you never really want to because it’s clear that Goldsman wholeheartedly believes in this story. He loves this circus and is desperately working to ensure you do too, and I must confess, I wanted to believe. There is nothing like Winter’s Tale out there in terms of no-holds-barred earnestness. It’s hilarious but oddly heart-warming as a result. How can you walk away unchanged from a film where Colin Farrell fucks a woman to death? Following Winter’s Tale, which spectacularly flopped at the box office, Goldsman returned to writing weak tea mediocrity, bouncing from forgettable YA adaptations (The 5th Wave) and forgotten horror sequels (Rings). At one point, he was attached to a writer’s room intended to continue the depressingly never-ending Transformers series, but he’s since dropped out. Following The Dark Tower and Star Trek: Discovery, Goldsman will return to the director’s chair with Stephanie, a supernatural horror film that will be written by someone else.
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Collins", "Vulture" ]	2024-03-07T09:00:11.798000-05:00	Is another crime drama about drug-peddling kingpins necessary? Yes, if it’s a spinoff of Ritchie’s 2019 film of the same name. Read more in Vulture’s premiere recap of Netflix’s ‘The Gentlemen.’	en	https://assets.vulture.c…e/icon.76x76.png	Vulture	https://www.vulture.com/article/the-gentlemen-season-1-episodes-1-and-2.html	Does crime pay? It does if you watch television in 2024. Before the end of February, the tube served up the end of Fargo season five, the fourth season of its fellow anthology series True Detective, the long-awaited second outing of Tokyo Vice, Sofia Vergara’s dramatic breakout Griselda, and the shockingly good Sexy Beast prequel series. Your mileage and/or preferred body count may vary, but even the worst of these shows (which is True Detective, sorry) has a whole lot to recommend it, and the best (Fargo and Sexy Beast) are among the best of the decade. Surely lightning can’t strike half a dozen times, right? Especially not if entry number six is Guy Ritchie, the quintessential acquired taste, remaking one of his own movies as a TV show for some reason, right? Right? Wrong! Riffing on a concept — druglords using the vast estates of broke English aristocrats to grow weed — from his 2019 film of the same name, The Gentlemen sees co-writer and director Ritchie more or less remake everything else from the ground up. The result, so far, is a scream. Theo James stars as Eddie Horniman — and no, the surname hasn’t been joke fodder yet, which I legitimately feel speaks to the show’s restraint. Eddie is, effectively, Prince Harry: His dad (Edward Fox) is a duke, and Eddie is “the spare” to “the heir,” his older brother Freddy (Daniel Ings). He’s even enlisted in the army, working as a U.N. peacekeeper on the Turkey-Syria border. Meanwhile, Freddy, a good old-fashioned Upper-Class Twit of the Year candidate, has amassed a considerable cocaine habit and an even more considerable debt to the proverbial Wrong People. The first episode, “Refined Aggression,” really kicks off with the dying Duke leaving the whole shebang to Eddie instead of Freddy. This second-son inheritance upends centuries of tradition, as a fuming Freddy sputters and rants: “It goes back to the Bible! Cain and Abel! It’s the will of God!” Eddie, who wants none of this, nevertheless tries to keep things in order, even when Freddy reveals he’s 8 million pounds in debt to a pair of vicious Liverpudlian gangsters, Tommy and John “The Gospel” Dixon (Peter Serafinowicz and Pearce Quigley). Eddie begins to wonder where all that family money Freddie had pissed away to these people came from, given that his dad’s books reveal basically no income; like many aristocratic families, they’re cash poor. A striking mystery woman soon solves the mystery for him. Her name is Susie Glass (Kaya Scodelario). She runs the weed empire of her father Bobby (Ray Winstone) during his incarceration, and she had an arrangement with the Duke to run an enormous underground cannabis farm beneath the sprawling family estate, as indeed they do across the country. Since cash-poor aristocrats need to make the money somehow, everyone wins. And by dealing strictly in weed, her family (and the Duke’s) avoid the violence associated with the competition for the harder stuff. Eddie’s not sure how he feels about all this — partially out of wariness, partially because he suspects there’s more money to be made if he renegotiates the terms — but he recognizes a way out when he sees one. After all, neither he nor Susie want trouble. So while Susie and Tommy hash out a deal to knock out 4 million off the total debt, Eddie scrounges his half by selling his father’s exclusive wine collection to a very rich, very refined fellow named Stanley Johnston (Giancarlo Esposito) — “with a t,’” he’s quick to specify. For unknown but highly suspicious reasons, Johnston is ready to buy the entire family house and estate at double its value. Freddy, meanwhile, pitches in by repeatedly fucking things up. First, he nearly blows a million pounds on a bogus boxing bet. Susie’s goons retrieve the money, but she makes sure Eddie sees the bloody, groveling mess they made of the guy who stole it. His beating is a message for Eddie as much as anyone else. It’s when Tommy Dixon comes to collect that things truly go tits up, as they say. Tommy demands an apology from Freddy in the form of him singing an insulting song about himself to the tune of “Old McDonald” while dancing around in a chicken suit. What follows is the crime-thriller equivalent of cringe comedy, like the Alfred Molina scene in Boogie Nights: The challenge for the viewer is to see how much awkwardness around an extremely dangerous individual you can take. For Freddy, the answer is only so much. During a bathroom break, he gets even higher than he already was (which was pretty fucking high), grabs an antique shotgun, and blows Tommy away. End part one. Episode two, “Tackle Tommy Woo Woo,” has our gang in cleanup mode. They have to deal with Jethro (Josh Finan), the nice young scouser who comes along with Tommy to count the cash and is now a witness. (Like many people in the Dixon outfit, he was apparently drawn in at first by the Gospel’s preaching; “I didn’t know they were an international crime family with Jesus runnin’ the show,” he says.) The brothers catch him with the help of their knowledgeable groundskeeper, Jeff (Ritchie muse Vinnie Jones), but not before he sends what the characters themselves refer to, with evident annoyance, as “a cryptic text” to the Gospel’s owlish right-hand man, Errol (John McGrellis). But by the time the Gospel shows up at the estate to investigate, Felix (Dar Salim), Susie’s day-drunk but otherwise reliable equivalent of Mike Ehrmantraut, has helped Eddie dispose of the body and make it look like Jethro killed him and made a run for it with the money. Eddie’s goal is to get the Dixons off the scent of his brother, then get poor Jethro to Australia and spare his life from all concerned. Are there complications? You bet. Eddie has to kill a Dixon goon and gets shot in the side in turn when he surprises the guy while searching Jethro’s flat for his passport. (Eddie gives himself away by tripping over and disconnecting a wire. Relatable!) Both Eddie and Susie must rebuff the continued advances of Johnston with a t, who, in addition to being the most well-mannered American abroad of all time, is also a billionaire meth kingpin who wants to partner up. (Giancarlo Esposito, a refined and mild-mannered meth kingpin? Well, now I’ve seen everything.) And as the Gospel points out, the murder weapon is a few hundred years older and a few hundred thousand pounds more expensive than what kids carry in Liverpool. Eddie claims Jethro must have stolen it, which the Gospel buys. He insists, however, on keeping the gun until he can use it on Jethro. There’s a fat chance of that, but not for the reason the do-gooding Eddie thinks: The boat on which Jethro “escaped” on his way to “Australia” is captained by Felix, who disposes of not just bodies but witnesses. If that sounds like a dense plot, it’s only because I’m fitting ten pounds of TV into a five-pound recap. Stack any two episodes of a crime thriller on top of one another and it’ll sound complicated. But The Gentlemen’s scripts, by Ritchie and Matthew Read, are a breeze. For one thing, the show exists in that early Breaking Bad mode where it’s just a series of escalating catastrophes, and fixing one problem leads directly to the next. I think Breaking Bad proved the watchability of that particular business model. For another, every scene is redolent with this marvelously dry sense of black humor. No, seriously! Forget what you’ve thought of Guy Ritchie’s crime-caper movies or the ads that show a shotgun-wielding Freddy in his chicken suit. This thing works because of sharp writing, delivered crisply by actors who understand the value of verbal and emotional economy. Theo James is the right man for this job as Eddie, having proved his chops with upper-class comedy in The White Lotus. Besides, he’s an engaging leading man if you need a handsome guy of his age. In a more just world, his parents would have named him Chris, and he’d be neck and neck with Pine in people’s rankings while holding down a Marvel franchise that, hopefully, his agent had the perspicacity to extract him from at the end of Phase Three. The other real standout in the early going is Daniel Ings. “Zooted posh nincompoop” is easy to do but not easy to do memorably, and that’s what Ings manages. He’s funny going at top volume as one of the few characters permitted to reach that register, as he does in his rant about being disinherited or during the chicken/murder debacle. He’s funny being subdued and fidgety and awkward, though, too: When his mum (Joely Richardson) asks why he’s dressed like a chicken, he responds by stammering “Well, quite, yes,” even though it was not a yes-or-no question. When Eddie asks him if he’d ever wondered where their dad was getting the money, his answer is to shrug and suggest “Slavery?” When the Gospel asks if anyone needs to confess, Freddy (rather shrewdly, I’ll admit) transmutes his obviously nervous affect into a confession about accidentally killing the family cat 25 years earlier, leading to a brief fraternal argument that has nothing whatsoever to do with the more pressing matter at hand. “I thought this was a safe space,” Freddy explains to the Gospel when the gangster tells them to knock it off. “I thought he could handle it; I did.” In short, Ings gives Freddy the air of a man who manages to stumble across every obstacle in his way because none of significance has ever been placed there before. It’s a terrific performance. There are a lot of quietly hilarious exchanges of misplaced politeness like that. The Gospel deadpanning, “Would it be alright if I dropped by?” in a voice that implies he’s not asking at all. Jethro’s erstwhile captor, Susie’s stoner Chief Product Officer Jimmy (Michael Vu), asks Jethro if he smokes weed while holding him prisoner inside a giant underground weed farm, and Jethro sardonically replies, “Why? Have you got any?” Jimmy also describes how to finger a robin redbreast, for some reason; it involves the phrase “legs spread, wings akimbo” in a chav accent, and I have no idea why it’s in there, and I’m delighted that it is. Even the sight gags (aside from the chicken thing) are largely subdued but no less funny for that — like when the family dog gets its own closeup as the show depicts the grieving faces of the family at the Duke’s funeral, or Jethro theatrically zipping his lip when he turns around to discover his boss dead. The Gentlemen feels like what it is: a veteran filmmaker putting all his experience and refinement to date onscreen as if he were to the manor born.
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"https://www.cosmopolitan.com/_assets/design-tokens/fre/static/icons/social/facebook.a5a3a69.svg?primary=%2523DA8EEA&id=social-button-icon", "https://www.cosmopolitan.com/_assets/design-tokens/fre/static/icons/social/instagram.f282b14.svg?primary=%2523DA8EEA&id=social-button-icon", "https://www.cosmopolitan.com/_assets/design-tokens/fre/static/icons/social/pinterest.e8cf655.svg?primary=%2523DA8EEA&id=social-button-icon", "https://www.cosmopolitan.com/_assets/design-tokens/en-gb/static/images/logos/network-logo.eae65ae.svg?primary=%2523ffffff", "https://www.cosmopolitan.com/_assets/design-tokens/fre/static/images/logos/ipso-regulated.9922b5a.svg?primary=%2523ffffff" ]	[]	[]	[ "" ]	null	[ "Dusty Baxter-Wright" ]	2024-01-16T12:19:19.061550+00:00	Guy Ritchie is back with The Gentlemen TV show on Netflix - but how does it connect to the original 2019 movie?	en	/_assets/design-tokens/cosmopolitan/static/images/favicon.f9ef38f.ico	Cosmopolitan	https://www.cosmopolitan.com/uk/entertainment/a46407131/netflix-the-gentlemen-tv-show-original-film-world/	Fans of the 2019 film The Gentlemen will be buzzing to see the spin-off TV show is now on Netflix, starring Kaya Scodelario and Theo James in lead roles. But is the new version based on the original movie? We're always in the market for a Guy Ritchie movie, and The Gentlemen was no exception. Starring everyone from Charlie Hunnam and Matthew McConaughey to Colin Farrell and Hugh Grant, the film (which came out five years ago) followed an American drug kingpin who was attempting to sell off his cannabis empire, and set off chaos in the process. This month, a TV show of the same name landed on Netflix [7th March], this time around following Eddie Horniman (played by Theo James), who unexpectedly inherits his father's country estate - and the cannabis empire that comes with it. While he attempts to extricate his family from the criminal underworld, he's sucked into the world of gangsters. So, is The Gentlemen TV show based on the movie? Essentially, it's set in the same world, but without any connection to the previous characters. It's not really clear if it's set in exactly the same time frame, or five years after, like the release date. As director Guy Ritchie explained, "It’s a sojourn into aristocrats meeting world gangsters. The world is exactly the same. The aristocrats have got brilliant houses, lots of land but they don’t have any cash to live on. "That’s why in our story the aristocrats are putting skunk farms in their back gardens. The show is about the transition, the evolution from zoo to jungle and how to hunt in the jungle to survive. If you like my sort of worlds, you should like this one." So yes, while it's a similar set up in that there are huge drug farms hidden under posh aristocratic land, the stories are completely different. The Gentlemen is now streaming on Netflix.
28270	yago	0	0	https://en.wikipedia.org/wiki/The_Hire	en	Wikipedia	https://upload.wikimedia…h_%282001%29.jpg	https://upload.wikimedia…h_%282001%29.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8f/Hire_Ambush_%282001%29.jpg/220px-Hire_Ambush_%282001%29.jpg", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/16px-Symbol_category_class.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2003-12-23T04:51:03+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/The_Hire	Series of eight short films about BMW automobiles The HireDirected byWritten byProduced by Robyn Boardman Robert Van de Weteringe Buys Tapas Blank Tony McGarry Leon Corcos David Mitchell Nicole Dionne Pelayo Gutiérrez Aristides McGarry David Fincher Dave Morrison Ridley Scott Tony Scott Jules Daly Skip Chaisson David Davies Kimberly Jacobs-Toeg StarringNarrated byClive OwenCinematographyEdited by Robert Duffy Tim Squyres William Chang Tom Muldoon Luis Carballar Alejandro González Iñárritu Gabriel Rodríguez de la Mora Jeff Gullo Angus Wall John Gilroy Skip Chaisson Julian Clarke Austyn Daines Devin Mauer Music by Production companies Distributed byBMW Films Release date 2001–2016 Running time 64 minutes (total of all eight films)CountryUSALanguages English Portuguese Spanish Budget$9 million[2] The BMW film series The Hire consists of eight short films (averaging about ten minutes each) produced for the Internet in 2001 and 2002. A form of branded content, the shorts were directed by popular filmmakers from around the globe and starred Clive Owen as "the Driver" while highlighting the performance aspects of various BMW automobiles. The series made a comeback in 2016, fourteen years after its original run ended. Premise [edit] This series of short films center on a nameless protagonist, known as "The Driver" (Clive Owen), who is a highly-proficient professional driver of BMW automobiles. The plot of each film varies, but all involve the Driver being hired to perform tasks for various clients, typically to transport important individuals and/or cargo while evading pursuing antagonists. Summary [edit] Season 1 [edit] Ambush [edit] While escorting an elderly man in the middle of the night, the Driver is confronted by a van full of armed thieves and is told that the old man is carrying a large amount of diamonds. The old man claims to have swallowed the diamonds and that the men will likely cut him open to retrieve them. The Driver decides to save his client and attempts to evade the van while being shot at. The Driver eventually baits the thieves into dying in a collision with a parked bulldozer. The Driver delivers the old man to his destination and asks if he really swallowed the diamonds. The client merely chuckles and walks away before the Driver departs. Starring Tomas Milian Directed by John Frankenheimer Written by Andrew Kevin Walker Featured the BMW 740i[3] Chosen [edit] The Driver is hired to protect an Asian holy child who is brought to America by boat. The child gives the Driver a gift, but tells him not to open it yet. After being pursued by kidnappers and being grazed in the ear by a gunshot, he successfully delivers the boy to a waiting monk. However, the child signals silently to the Driver that the man is an imposter, indicated by his footwear, just visible under his robe. The impostor monk tries to kidnap the child, but the Driver thwarts him and rescues the boy. Before leaving, the Driver opens the gift, which is revealed to be an adhesive bandage for his bleeding ear. Starring Mason Lee Directed by Ang Lee Written by David Carter Featured the BMW 540i[3] The Follow [edit] Main article: The Hire: The Follow The Driver is hired by a nervous manager to spy on a paranoid actor's wife. The Driver narrates while following the wife, describing the right methods to survey someone, as well as his fear of what he might learn of the wife's tragic life. He eventually discovers the wife is fleeing the country to return to her mother in Brazil, and that she's been given a black eye—likely by her husband. The Driver returns the job's money to the manager, refuses to tell him where the wife is, and tells him to never call him again before driving off. Starring Forest Whitaker, Mickey Rourke, and Adriana Lima Directed by Wong Kar-wai Written by Andrew Kevin Walker Featured the BMW 328i Coupé and the Z3 roadster[1][3] Star [edit] The Driver is chosen by a spoiled and shallow celebrity to drive her to a venue. Unbeknownst to her, her manager has actually hired the Driver to teach the celebrity a lesson. Pretending to escape her pursuing bodyguards, the Driver drives recklessly through the city, tossing the hapless celebrity all around the backseat. They eventually arrive at the venue, where she is thrown out of the car and photographed by paparazzi in an embarrassing end on the red carpet. Starring Madonna Directed by Guy Ritchie Written by Joe Sweet and Guy Ritchie Featured the BMW M5 Powder Keg [edit] In a war-torn Latin-American country, war photographer Harvey Jacobs witnesses a massacre and is wounded trying to escape. The UN assigns the Driver to rescue Jacobs from hostile territory. Jacobs tells the Driver about the horrors he saw as a photographer, and his regrets for being unable to help any victims. He gives the Driver the film needed for a New York Times story and his dog tags, which are to be given to his mother. When they reach the border they are confronted by a guard, who becomes hostile when Jacobs is taking pictures and refuses to stop. The Driver drives through a hail of gunfire towards safety, but finds Jacobs has died in the escape. The Driver returns to America to visit Jacobs' mother, returning his dog tags and telling her that Jacobs had won the Pulitzer Prize. Starring Stellan Skarsgård and Lois Smith Directed by Alejandro González Iñárritu Written by Alejandro González Iñárritu, Guillermo Arriaga and David Carter Featured the BMW X5 3.0i Season 2 [edit] Hostage [edit] The Driver is hired by the Federal Bureau of Investigation to help defuse a hostage situation. A disgruntled employee has kidnapped a CEO and has hidden her, demanding $5,088,042 for her release. The Driver delivers the money, writing the sum on his hand as instructed by the hostage taker, and is then ordered to burn the money. As he complies, the federal agents break in and attempt to subdue the man, who shoots himself in the head without revealing the woman's location. The Driver surmises the ransom amount is actually the woman's cellphone number, and tracks her location to the trunk of a sinking car. The woman is rescued and brought to the hospital to confront the kidnapper. It is revealed that she and the kidnapper were actually lovers, and the woman coldly tells the kidnapper she only used him for sex before he dies. Starring Maury Chaykin and Kathryn Morris Directed by John Woo Written by David Carter, Greg Hahn and Vincent Ngo Featured the BMW Z4 3.0i Ticker [edit] In an unnamed foreign country, a man carrying a mysterious briefcase survives an ambush en route to his destination. The Driver rescues and escorts the man while under helicopter attack. During the chase, the briefcase is struck by a bullet, causing it to leak grey fluid and the number on its display to begin counting down. The Driver manages to cause the helicopter to crash, but refuses to proceed without knowing the contents of the damaged briefcase. It is revealed that the man guards a human heart that is to be transplanted into the nation's leader, who has brought peace and prosperity to the country for many years. Should he die, his heir will be a tyrannical army General, whose soldiers had been attempting to stop them the entire time. The Driver finally reaches a military base and brings the heart to waiting surgeons, who successfully save the leader from dying. The General tries to intervene, but realizes he has failed and decides to leave with his men. Starring Don Cheadle and F. Murray Abraham cameos by Ray Liotta, Robert Patrick, Clifton Powell and Dennis Haysbert as US agents Written and directed by Joe Carnahan Featured the BMW Z4 3.0i Beat the Devil [edit] The Driver is employed by James Brown, who goes to meet the Devil to re-negotiate the deal he made as a young man, in which he traded his soul for fame and fortune. James is worried about his aging and the fact he can no longer perform like he used to. To renew his contract, James proposes that they have a drag race on the Las Vegas Strip at dawn, wagering the Driver's soul for another 50 years of success. The race ends with the Driver swerving to pass a moving train, while the Devil's car (a flamed Pontiac Firebird) crashes and explodes. Having won the race, the Driver leaves James Brown in the desert, but as he drives away he sees him as a young man again. The final scene shows Marilyn Manson, who lives down the hall from the Devil, complaining that the noise is disturbing his Bible reading. Starring James Brown, Gary Oldman, and Danny Trejo Cameo by Marilyn Manson Directed by Tony Scott Written by David Carter, Greg Hahn and Vincent Ngo Featured the BMW Z4 3.0i "The Subplot Films" [edit] Four smaller movies, dubbed "The Subplot Movies" were shot and directed by Ben Younger. Lacking any real style (and appearing to be shot with a standard consumer-level DV-cam), they were designed to "fill in the gaps" between the five films and featured a man who appeared to be tracking the Driver, finding "clues" usually scribbled, in pen, on small pieces of paper. The films, at first glance, have no real connection to the Driver movies at all and made no real sense – they contained "clues" that were part of an alternate reality game that would lead intuitive fans to a party in Las Vegas, Nevada. Season 3 [edit] The Escape [edit] Main article: The Escape (2016 film) After the disappearance of geneticist Dr. Nora Phillips, the Molecular Genetics company's illegal activities in human cloning become exposed and the FBI raids the facility. One surviving specimen, Lily, is escorted by a ruthless mercenary named Holt to be delivered to an unknown client. The Driver is hired to transport the package with Holt accompanying him, along with an armed convoy of other mercenaries. When the Driver realizes that Lily possesses humanity, he forces Holt to get out of the car. The Driver thwarts Holt and his mercenaries in a pursuit and then drives the girl to a harbor, where she is happily reunited with Dr. Phillips—the unknown client that hired the Driver. Starring Jon Bernthal, Dakota Fanning, and Vera Farmiga Directed by Neill Blomkamp Written by Neill Blomkamp and David Carter Featured the BMW 5 Series (G30) Production [edit] BMW's idea for the series came from the fact that 85% of its customers shop online before purchasing their cars. If BMW could attract the right kind of traffic to their website, the type of person who enjoys art films from influential directors and actors, they could translate that into sales.[4] BMW stated that John Frankenheimer's film Ronin served as creative inspiration for The Hire series.[5] On April 26, 2001, John Frankenheimer's Ambush premiered on the BMW Films website and, two weeks later, was followed by Ang Lee's Chosen.[6] Soon after, director Wong Kar-Wai was tapped to make a third film entitled The Follow, a dramatic piece about a runaway wife being followed by "the Driver". The films debuted at the Cannes Film Festival and received mixed reviews, perhaps due to the films' purpose as advertising.[5] It was followed by Guy Ritchie's Star and Alejandro González Iñárritu's Powder Keg.[7][1] After the series began, BMW saw their 2001 sales increase 12% from the previous year. The movies were viewed over 11 million times in four months. Two million people registered with the website and a large majority of users, registered to the site, sent film links to their friends and family.[8][9] The series was originally created by members of famed indie New York City film studio – Shooting Gallery – such as CJ Follini, Paul Speaker, and Eamonn Bowles. The films were so popular that BMW produced a free DVD for customers who visited certain BMW dealerships. Due to demand, BMW ran out of DVDs. In September, BMW and Vanity Fair magazine collaborated to distribute a second DVD edition of The Hire in the magazine.[10][7] The Vanity Fair disc did not include Wong Kar-Wai's The Follow. Forest Whitaker had an uncredited part in The Follow and had only agreed to be in the film if it were shown exclusively on the Internet. When the movie was released on DVD, Whitaker allegedly exercised an option in his contract which stipulated that the movie would not be released in any other format without authorization from the actor himself. The Vanity Fair disc, in lieu of carrying The Follow, contained a link to the website with instructions to the viewer to watch the movie online.[11] The DVD was highly sought on Internet forums after the September 2001 issue of Vanity Fair quickly vanished from shelves and became a rare find. The movies were reviewed by Time Magazine and The New York Times, who praised BMW for creating entertaining content for "discerning movie watchers".[7] The series continued in October 2002, replacing producer David Fincher with Ridley and Tony Scott due to Fincher's continuing work on Panic Room. Season 2 debuted with a dark action/comedy piece by Tony Scott called Beat the Devil. The movie, shot in Scott's trademark pseudo-psychedelic style, featured James Brown enlisting the Driver to take him to Las Vegas to re-work a decades-old deal he made with the devil which evidently gave Brown his "fame and fortune".[12] Some differences were evident. Whereas the first season was serious and subdued with tiny bursts of action and comedy, the second season was all flash and fun. To fit this motif, John Woo and Joe Carnahan were hired to direct Hostage and Ticker, respectively. The other main difference was that, instead of showcasing several different BMW cars (like the first season had done), the only car showcased was the then-new BMW Z4 Roadster.[8] To celebrate the premiere of the second season, BMW threw a party at the ArcLight Hollywood on October 17, 2002, just a week before the film's internet debut. The party, co-hosted by Vanity Fair, was also a charity and benefit for the homeless.[13][14] A month after the premiere of Beat the Devil, DirecTV began airing the entire series in half-hour loops for five weeks, on one of the blank satellite channels the system offered. The films were a success and, as a result, DirecTV considered using blank channels to air other companies' ads.[15] In 2003, BMW decided to make a third (and final) DVD compilation of The Hire. The new DVD made its debut at The Palais des Festival during the 2003 Cannes Film Festival and contained all eight movies, including Wong Kar-Wai's previously absent The Follow.[11][7] Once again, the disc became available at select dealerships but fans could also obtain the disc for a nominal shipping fee via the BMW Films website. During the last quarter of 2004, Dark Horse Comics and BMW planned to publish a 6-issue comic book limited series based on the main character of the films. The books were written by Kurt Busiek, Bruce Campbell, Katsuhiro Otomo, and Mark Waid as well as other comic book talents.[16] Only four books were produced. "Tycoon" was the last book released (in December 2005). While the comics are still able to be purchased in collector shops and some comic book stores, they are no longer available for purchase on the BMW website. On October 21, 2005, BMW stopped distribution of The Hire on DVD and removed all eight films from the BMW Films website just four years after the first film debuted.[7] The series was abandoned, reportedly because the project had become too expensive. BMW's Vice President of Marketing James McDowell, originator of the BMW Films project, left BMW to become the VP of sales and marketing for BMW's "Mini USA" division. BMW also split from longtime ad partner Fallon Worldwide which was the creative production outlet for the series and BMW's German division had attempted to become involved with the US division of the company, cutting costs.[17] The series was viewed over 100 million times in four years and had changed the way products were advertised.[7] Copies of the DVD are still found in Internet shops and auction sites.[citation needed] The films themselves continue to appear on many torrent searches and viral video sites around the Internet.[citation needed] In early 2006, BMW released a line of free "BMW Audiobooks" to take advantage of the growing popularity of portable MP3 players (and the fact that most BMW's came with an iPod dock pre-installed in their vehicles). While the stories had the same pulp-action feel as The Hire, the character of "the Driver" was absent. The audiobooks were free (like the films that preceded them) but are no longer available for download from the BMW website.[18] On February 17, 2007, MINI (BMW) launched a new short film series called Hammer & Coop. The series is a comedic parody of 1970s action-television shows like Starsky & Hutch and Charlie's Angels, and showcases BMW's Mini Cooper line of cars as the featured product.[19] On September 20, 2016, it was reported that BMW Films has resurrected the series fourteen years after the original production wrapped, with Clive Owen returning to reprise his role as the Driver. The first episode was revealed to be titled The Escape, which premiered on October 23, 2016, on BMW Films' official website.[20] In 2023 BMW released The Calm, starring Pom Klementieff and Uma Thurman. Produced by Joseph Kosinski and directed by Sam Hargrave, the new film features the BMW i7 M70.[21] Contest/game & party [edit] Shortly after the release of the "Subplot Films", reports circulated around the Internet that Apple, Starbucks, BMW Films First Illinois Mortgage, and Susstones' all had a small, hidden link on their website that had a direct connection with the movies. Upon further investigation, three phone numbers and a web address were found in the four films, which led many viewers to call those numbers and go to that website. Thousands took to the web, taking place in the hunt but only 250 solved the puzzle, which allowed the lucky few to be entered in a drawing to win a 2003 BMW Z4, seen in Hostage. The final piece of the puzzle was a voicemail, instructing participants to meet with a correspondent in Las Vegas, the site of a VIP Party for BMW where the Grand Prize Z4 was given away to a couple from Bellingham, Washington.[22][23] The first prize was a BMW Q3.s mountain bike, awarded to a student from the University of New Hampshire. The game was designed and co-written by Mark Sandau and Russ Stark.[24][25] Influences [edit] Several companies attempted to capitalize on the success of BMW's film series. In 2002, the Nissan car company produced their own short film featuring their newly introduced 350Z. Entitled The Run, the film was directed by John Bruno, a James Cameron protege who worked with Cameron on True Lies, The Abyss, and Terminator 2: Judgment Day. The film was shown in theaters before feature films in November 2002. Nissan offered a DVD of the film for $9.95.[26] In 2004, Mercedes-Benz released The Porter, a 15-minute film by director Jan Wentz, starring Max Beesley and Bryan Ferry. A few years later, Bombardier Recreational Products company introduced a series of short movies on the Internet which showcased their "Sea-Doo" line of personal water craft (PWC)[27] while Covad Business also constructed a campy internet horror film based on their products called The Ringing with the intent of showcasing VoIP technology.[28] The Transporter was also based on The Hire film series as Luc Besson has said in interviews. In fact, many of the elements seen in The Hire were incorporated into The Transporter, right down to the BMW automobile.[29] Around the same time The Hire made its comeback in October 2016, the Ford Motor Company produced its very own short film, advertising their new car, the 2015 Ford Edge incorporated into a story, starring Mads Mikkelsen as the titular character in Le Fantôme, directed by Jake Scott, who co-produced the second season of The Hire.[30] References [edit] Further reading [edit] Fallon, Pat; Senn, Fred (2006). "Chapter Eight: Choosing the Best Media for the Message". Juicing the Orange: How to Turn Creativity into a Powerful Business Advantage. Boston, Mass.: Harvard Business School Press. pp. 125–146. ISBN 9781591399278. OCLC 62616016. Kiley, David (2004). Driven: Inside BMW, the Most Admired Car Company in the World. Hoboken, NJ: Wiley. pp. 140–150. ISBN 9780471269205. OCLC 249773457. BMW Films Archived June 25, 2007, at the Wayback Machine The Hire at the Internet Archive BMW films at Fallon The Hire at Dark Horse Comics Ambush at IMDb Chosen at IMDb The Follow at IMDb Star at IMDb Powder Keg at IMDb Hostage at IMDb Ticker at IMDb Beat the Devil at IMDb
28270	yago	0	93	https://www.digitaltrends.com/movies/guy-ritchies-the-covenant-review/	en	Guy Ritchie’s The Covenant review: a well-crafted thriller	https://www.digitaltrend…e=1200%2C630&p=1	https://www.digitaltrend…e=1200%2C630&p=1	[ "https://www.digitaltrends.com/wp-content/uploads/2023/04/Dar-Salim-and-Jake-Gyllenhaal-sit-in-a-humvee-together-in-The-Covenant.jpg?resize=625%2C417&p=1", "https://www.digitaltrends.com/wp-content/uploads/2023/04/Jake-Gyllenhaal-kneels-over-Dar-Salim-in-The-Covenant.jpg?fit=720%2C480&p=1", "https://www.digitaltrends.com/wp-content/uploads/2023/04/Dar-Salim-pushes-Jake-Gyllenhaal-on-a-wooden-cart-in-The-Covenant.jpg?fit=720%2C480&p=1", "https://www.digitaltrends.com/wp-content/uploads/2023/04/Jake-Gyllenhaal-and-Antony-Starr-look-across-a-table-at-each-other-in-The-Covenant.jpg?fit=720%2C480&p=1", "https://www.digitaltrends.com/wp-content/uploads/2022/09/IMG-4987.jpg?resize=200%2C200&p=1", "https://www.digitaltrends.com/wp-content/uploads/2022/07/Rebecca-Hall-standing-next-to-a-reflective-wall-in-Resurrection.jpg?resize=650%2C390&p=1", "https://www.digitaltrends.com/wp-content/uploads/2022/06/A-ghost-stands-next-to-Finney-in-The-Black-Phone.jpg?resize=650%2C390&p=1", "https://www.digitaltrends.com/wp-content/uploads/2022/06/chris-hemsworth-spiderhead.jpg?resize=650%2C390&p=1", "https://www.digitaltrends.com/wp-content/themes/dt-stardust/assets/images/svg/logo-dtmg.svg" ]	[]	[]	[ "Entertainment", "action movies", "Guy Ritchie's The Covenant", "Jake Gyllenhaal", "Movie Reviews", "new movies" ]	null	[ "Alex Welch" ]	2023-04-22T11:30:10-07:00	Guy Ritchie's The Covenant is a well-made, entertaining military thriller that features a star-making turn from Dar Salim. The film is now playing in theaters.	en	https://www.digitaltrend…it=144%2C144&p=1	Digital Trends	https://www.digitaltrends.com/movies/guy-ritchies-the-covenant-review/	There is no mainstream filmmaker alive right now who seems as content with making middlebrow action thrillers as Guy Ritchie. To be fair, there’s also no director working today who is quite as good at doing it as Ritchie. The filmmaker came up in the 1990s and 2000s during a period when action directors couldn’t rely on CGI to do as much of the work for them as many do now, and that shows in Ritchie’s work. Even when his films don’t quite narratively or tonally hold together as well as one would like, there’s never a question that Ritchie still knows exactly how to place and move his camera at any given moment. That was true in his offering earlier this year, the underrated crime comedy flick Operation Fortune: Ruse de Guerre, and it’s true once again in Guy Ritchie’s The Covenant. The new film is a straightforward, sincerely made military thriller that rarely handles its moments of melodrama or emotional introspection as well as it could, but is nonetheless never anything but wholly engaging. More than anything, it proves once again that there simply are not many directors working right now who are better at navigating the lost art of the midbudget action movie than Ritchie. Co-written by Ritchie, Ivan Atkinson, and Marn Davies, Guy Ritchie’s The Covenant follows John Kinley (Jake Gyllenhaal), a U.S. military sergeant who suffers an unexpected loss in the film’s intense, surprisingly succinct opening scene. The death of one of his soldiers leads to John crossing paths with Ahmed (Dar Salim), an Afghan interpreter who is inducted into John’s squadron in order to help it locate and destroy some of the Taliban’s hidden explosive sites. In his role, Ahmed quickly proves himself as someone who is willing to disobey orders in order to save the lives of himself and the other men in his unit. While he and John frequently butt heads throughout The Covenant’s first act, the two characters are forced to depend on each other after one of their missions takes a deadly turn. When Gyllenhaal’s determined military leader is nearly killed shortly afterward, Salim’s Ahmed takes it upon himself to safely transport the injured John across dangerous enemy territory for several days and nights. In doing so, Ahmed unknowingly creates a debt between him and John that the latter feels compelled to repay in The Covenant’s rousing but uneven final third. Clocking in at just over 2 hours long, The Covenant’s story is essentially divided into three parts: John and Ahmed’s first missions together, Ahmed’s quest to keep John alive, and John’s journey to rescue Ahmed from the Taliban forces that want to kill him for aiding the U.S. military. For the most part, Ritchie and company manage to move through all three sections at a consistently engaging pace, though the film’s third act does feel significantly more rushed than its first two. There’s a similar unevenness present in The Covenant’s overall depiction of both Ahmed and John. Gyllenhaal plays his Covenant soldier with a level of intensity that moviegoers have come to expect from the actor, which makes it easier to buy into his character’s overwhelming sense of honor. The film’s script doesn’t, however, know how to explore John’s inner turmoil over his debt to Ahmed without veering too far into melodrama. That’s particularly true of two monologues Gyllenhaal gives in the second half of The Covenant, first to his wife, Caroline (Emily Beecham), and the other to his former commanding officer, Col. Vokes (Jonny Lee Miller). In both cases, what should be invigorating and emotionally moving moments of vulnerability for Gyllenhaal’s John instead come across as wooden and stiff. The film’s handling of Ahmed’s story fortunately feels far more compelling and nuanced, as does Salim’s star-making performance as the mournful, honorable interpreter. Driven into the military conflict by a devastating personal loss, Ahmed’s strength and desire to protect those he feels responsible for are made constantly apparent by Salim, who manages to communicate his character’s biggest moments of panic and fear even when he’s forced to tamp them down. Without Salim’s quiet, resolute performance, The Covenant wouldn’t work nearly as well as it does. That’s particularly true of Ahmed’s difficult mission to simultaneously escort Gyllenhaal’s John to safety and elude their Taliban pursuers. Behind the camera, Ritchie doesn’t shy away from showcasing the physical and mental demands of Ahmed’s journey. Whether he’s spending several minutes on Ahmed’s undercover interactions with Taliban soldiers or highlighting just how soul-crushing something as simple as rolling a wooden cart up a hill can become, Ritchie ensures that viewers feel the full weight of Ahmed’s quest. Salim’s performance, meanwhile, matches the intensity of Ritchie’s direction. Ahmed’s journey, as well as the attack that leaves him and Gyllenhaal’s John stranded in the first place, are the strongest and most effective sections of The Covenant. The latter sequence, which follows John, Ahmed, and the rest of their military unit as a seemingly successful mission begins to take a series of increasingly bad turns, is expertly well-constructed by Ritchie. The director pulls off the difficult feat of making sure you feel the chaos and growing desperation of the sequence without ever feeling the need to sacrifice the scene’s visual legibility. Ritchie achieves a similar trick at other points in The Covenant, including in the film’s rushed, but technically impressive climactic action sequence. In its final moments, Ritchie attempts to make a political statement with The Covenant — namely, that the U.S. military failed to treat its Afghan interpreters as well as it should have before it pulled out of Afghanistan. While admirable, the film’s action-movie preoccupations prevent its political message from landing as hard as Ritchie and his collaborators likely intended. Like many of Ritchie’s films, though, The Covenant still stands on its own as an entertaining and consistently engaging action thriller — one that succeeds on the strength of not only its two stars’ on-screen chemistry, but also the reliable and oft-underappreciated talent of its director. Guy Ritchie’s The Covenant is now playing in theaters.
28270	yago	2	65	https://kentfilmoffice.co.uk/filmed-in-kent/tag/guy-ritchie/	en	Kent Film Office	https://kentfilmoffice.c…ium-Web-view.jpg		[ "https://kentfilmoffice.co.uk/wp-content/themes/kentfilm/img/site-header-logo.png", "https://kentfilmoffice.co.uk/wp-content/uploads/2015/08/Man-from-UNCLE-Henry-Cavill-Medium-Web-view.jpg", "https://kentfilmoffice.co.uk/wp-content/uploads/2015/08/Alicia-Vikander-as-Gab-Medium-Web-view-300x199.jpg", "https://kentfilmoffice.co.uk/wp-content/uploads/2011/12/Sherlock-Holmes-A-Game-of-Shadows-Movie-Poster-©-Warner-Bros.1-300x187.jpg", "https://kentfilmoffice.co.uk/wp-content/uploads/2009/12/Shipyard-Medium-Web-view-300x200.jpg", "https://kentfilmoffice.co.uk/wp-content/uploads/2009/12/Punchbowl-Pub-Medium-Web-view-300x224.jpg", "https://kentfilmoffice.co.uk/wp-content/themes/kentfilm/img/KCCLogo.jpg" ]	[ "http://www.youtube.com/embed/bHBHMtl9YWw" ]	[]	[ "" ]	null	[ "Kent Film Office" ]	2024-02-29T12:35:24+01:00		en	https://kentfilmoffice.co.uk/wp-content/themes/kentfilm/ico/favicon.ico		null	Creator: Guy Ritchie Starring: Theo James, Kaya Scodelario, Daniel Ings, Joely Richardson Production Company: Miramax Television, Moonage Pictures, Toff Guy Films Kent Locations Used: Detling Diner, Ashford Cattle Market Based on the 2019 film of the same name, The Gentlemen (2024) is an eight-part crime-drama series for Netflix. After the death of his father, Eddie Halstead inherits a large estate, unaware it is the front for a drug empire. With no experience in the criminal underworld, Eddie must take over the operation or lose everything. Created by Guy Ritchie (The Man From U.N.C.L.E. (2015), Sherlock Holmes: Game of Shadows (2011)), the series stars Theo James (Divergent, Castlevania) as Eddie Halstead, Kaya Scodelario (Southcliffe (2013), True Love (2012)) as Susie Glass, Daniel Ings (I Hate Suzie, Lovesick) as Freddy Halstead and Joely Richardson (The Rook (2019), Nip/Tuck) as Lady Sabrina Halstead. Filming took place at the Detling Diner in Maidstone, which doubled for Patty’s Service Station and at the Ashford Cattle Market. As the county town of Kent and seat of local governance, Maidstone plays an important part in Kent’s history. The River Medway runs through Maidstone’s town centre, which is bustling with many shops, restaurants, bars, churches and a museum. Recent productions to have filmed in Maidstone include This Time with Alan Partridge Season 2 (2021), Whitstable Pearl (2021-2022) and The Last Rite (2021). With high-speed connections to London, Ashford is a busy market town with a bustling town centre that boasts two shopping malls, vibrant cafés and pubs and a partly pedestrianised high street. The Thompsons (2012) also filmed in Ashford. The Gentlemen (2024) was released on Netflix on Thursday 7th March 2024. For more information about Kent’s Filming History please visit our Movie Map. Director: Guy Ritchie Writer: Guy Ritchie, Lionel Wigram Stars: Alicia Vikander, Henry Cavill, Armie Hammer Production Company: Ritchie/Wigram Productions, RatPac-Dune Entertainment, Davis Entertainment Kent Locations Used: The Historic Dockyard Chatham The Man From U.N.C.L.E is an action spy-fi movie set in the early 1960s during the Cold War. A mysterious criminal organization plans to use nuclear weapons and war technology to disrupt the balance of power between the United States and Soviet Union. CIA agent, Napoleon Solo (Henry Cavill) and KGB agent, Illya Kuryakin (Armie Hammer) are forced to work together to stop the criminals in their tracks. Their only lead is the daughter of a missing German scientist who is their key to infiltrating the organisation. They must find her soon to prevent a global disaster. Cast and crew of The Man From U.N.C.L.E. visited The Historic Dockyard Chatham for 5 days to film a chase sequence where the Historic Dockyard doubles as East Berlin. In the film, the footage shot at the Dockyard is mixed with CGI to create an incredible, fast-paced car chase. The Dockyard has previously been transformed into France in Les Miserables (2013), Victorian London Streets in Sherlock Holmes (2009), and was HMS Gannet in The Dockyard was used in Mr Turner (2014). The Man from U.N.C.L.E is released in cinemas August 14th 2015. For more information about Kent’s Filming History please visit our Movie Map. Director: Guy Ritchie Producer: Bruce Berman Writers: Michael Mulroney, Kieran Mulroney (Screenplay) & Arthur Conan Doyle (Novel) Starring: Robert Downey Jr, Jude Law, Eddie Marsan, Noomi Rapace, Jared Harris & Stephen Fry Production Company: Village Roadshow Pictures, Silver Pictures, Wigram Productions Kent Locations Used: The Historic Dockyard Chatham, Port of Dover, White Cliffs of Dover, The Waverley Paddlesteamer, Knole & Fort Amherst Robert Downey Jr and Jude Law revisit their roles as the great Sherlock Holmes and Dr Watson in Sherlock Holmes: Game of Shadows. When the Crown Prince of Austria is found dead, inspector Lestrade (Eddie Marsdan-Law and Order UK ) believes it to be suicide. But Holmes deduces that the prince has been a victim in a murder that is part of a larger and more elaborate plot designed by Professor Moriarty (Jared Harris- Fringe). Holmes tracks down the clues to a gentleman’s club where he and his brother Mycroft Holmes (Stephen Fry-Alice in Wonderland) celebrate to Dr Watson’s final night of bachelorhood. There Holmes meets the mysterious fortune teller Sim (Noomi Rapace-The Girl Who kicked the Hornet’s Nest) whose unwitting involvement with the Crown Prince’s murder makes her the next target for the killer. Sherlock Holmes: Game of Shadows was adapted by Michele Mulroney (Unlikely Hero, Sunny & Share Love You) and Kieran Mulroney (Paper Man) and directed by Guy Ritchie (Snatch, RocknRolla). Robert Downey Jr. (Iron Man, Tropic Thunder) and Jude Law (The Talented Mr. Ripley, Enemy at the Gates) return in the starring roles alongside Noomi Rapace (The Drop, Child 44), Rachel McAdams (The Notebook, Spotlight), Stephen Fry (V for Vendetta Alice in Wonderland) and Jared Harris (Lincoln, The Boxtrolls). A number of popular Kent locations take a starring role in this latest blockbuster from director Guy Ritchie. The cast and crew returned to The Historic Dockyard Chatham where the Punchbowl Pub fight scenes and the hanging of Lord Blackwood amongst other scenes were filmed for the first movie. Eagle eyed viewers should watch the trailer below and see if they can spot the dockyards alongside the other Kent Locations! The Historic Dockyard Chatham is a popular film location, having previously featured in Rustom (2016) and Oliver Twist (2007). The production company also visited the Port of Dover where they boarded the Waverley Paddle Steamer to film the White Cliffs of Dover. The paddle steamer was re-built in 1947 after the original was sunk off Dunkirk in 1940 and now sails around the country offering tours to the general public. The Port of Dover can be seen in Johnny English (2003) starring Rowan Atkinson and in the James Bond classic Diamonds are Forever (1971) starring Sean Connery as the location for a dramatic hovercraft scene. National Trust Property Knole in Sevenoaks was also used, though you’ll have a hard time spotting the structure of the inner courtyard in its new Alpine setting. Adored by Henry VII and given to him by the Archbishop of Canterbury in 1538, it later was presented to the Sackville family by Elizabeth I. The house showcases stunning architecture, priceless Stuart furniture and is set at the heart of the only remaining deer park in the county. A popular film location it has appeared in Great British Railway Journeys – Series 7 (2016) and Pirates of the Caribbean: On Stranger Tides (2011). Lastly, crews took to Fort Amherst in Chatham to shoot scenes for the film. The extensive tunnels were the perfect double for the Paris sewer system. The fort is Britain’s largest Napoleonic Fortress and with an impressive network of historic buildings across 20 acres, it is becoming a firm favourite for film productions. Fort Amherst has also featured in Jekyll and Hyde (2016) and The Saint (1997). Considered one of Britain’s most haunted Forts, it is open to the public, though apparently you’ll risk meeting one of the many poltergeists and ghostly apparitions that walk there. Sherlock Holmes: Game of Shadows was released in cinemas in December 2011 and is now available to buy on DVD. For more information about Kent’s Filming History please visit our Movie Map.
28270	yago	2	32	https://variety.com/2024/film/global/guy-ritchie-wife-and-dog-black-bear-1236000436/	en	Guy Ritchie Sets New Film ‘Wife and Dog,’ Again Set in World of British Aristocracy, With Black Bear Launching in Cannes (EXCLUSIVE)	https://variety.com/wp-c…000&h=563&crop=1	https://variety.com/wp-c…000&h=563&crop=1	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://variety.com/wp-content/uploads/2022/12/Guy-Ritchie.jpg?w=1000&h=667&crop=1", "https://variety.com/wp-content/uploads/2024/08/featured_ai_data.jpg?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/08/GettyImages-1250519670.jpg?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/08/TBDALIN_EC001.jpg?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/05/featured_video_game_layoffs.jpg?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/08/LAK_201_20220825_BW_WP_0013.jpg?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/08/GettyImages-1176454885.jpg?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/08/featured_4k_8k_v2.jpg?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/08/Nominees.jpg?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/08/stewart-harris-split.jpg?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/08/tim-burton-batman-returns.jpg?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/08/Donald-Trump-Taylor-Swift-Fake-AI-Images.jpg?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/08/The-Grand-Tour.jpg?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/08/blade.png?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/08/navarro-coulter-odonnell.jpg?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/08/MCDBIRD_FS022.jpg?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/08/kamala-harris-DNC2.jpg?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/08/GettyImages-2160855156.jpg?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/08/MCDMYSI_EC002.jpg?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/08/Sophia-Vergara-Variety-Cover-Story-2.jpg?crop=0px%2C72px%2C1200px%2C832px&resize=681%2C454", "https://variety.com/wp-content/uploads/2023/10/GettyImages-72171256-e1698539198974.jpg?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/08/Rowling-Musk-Khelif.jpg?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/08/maya-copy.jpeg?w=250&h=167&crop=1", "https://variety.com/wp-content/uploads/2024/08/Hollywood-for-Kamala-Harris.jpg?crop=38px%2C0px%2C1846px%2C1281px&resize=250%2C167", "https://www.rollingstone.com/wp-content/uploads/2024/08/album-review-Illuminati-Hotties-.jpg?resize=232,175", "https://robbreport.com/wp-content/uploads/2024/08/SS_CUTHBERT_223.jpg?resize=232,175", "https://www.sportico.com/wp-content/uploads/2024/08/GettyImages-1900408736-e1724087397512.jpg?resize=232,175", "https://spy.com/wp-content/uploads/2024/03/SPY-ProductRoundup-ExfoliatorsandLoofahs-3132024.png?resize=232,175", "https://tvline.com/wp-content/uploads/2024/08/the-acolyte-season-2-interview.jpg?resize=232,175", "https://read.variety.com/get_image.aspx?eid=8785be11-c3b3-4e0a-8fd0-c8bdaa3819f6&w=320&pnum=3", "https://pixel.quantserve.com/pixel?a.1=&a.2=p-31f3D02tYU8zY", "https://px.ads.linkedin.com/collect/?pid=1429113&fmt=gif" ]	[]	[]	[ "" ]	null	[ "Alex Ritman" ]	2024-05-13T17:00:00+00:00	Guy Ritchie is developing his 18th feature 'Wife and Dog', again set in the world of the the British aristocracy, with Black Bear selling.	en	https://variety.com/wp-c…e-touch-icon.png	Variety	https://variety.com/2024/film/global/guy-ritchie-wife-and-dog-black-bear-1236000436/	Guy Ritchie has another film in the works that doubles down on the British upper class. The prolific director — already behind this year’s Netflix hit “The Gentlemen” and WWII action thriller “The Ministry of Ungentlemanly Warfare” — has unveiled his 18th feature film, “Wife and Dog,” with Black Bear launching sales in Cannes. Plot details and cast are currently being kept under wraps, but Variety hears that with the film, Ritchie will return to the colorful, back-stabbing world of British aristocracy that he explored in both “The Gentlemen” Netflix series and 2019 feature. “Wife and Dog” will shoot in October, with an A-list cast reportedly in negotiations to star. Ritchie wrote the screenplay and produces alongside long-time producing partner Ivan Atkinson (“The Gentlemen,” “Wrath of Man”) and Black Bear’s John Friedberg (“The Ministry of Ungentlemanly Warfare,” “Ferrari”). Executive producers include Teddy Schwarzman and Michael Heimler for Black Bear. Ritchie is on a filmmaking streak at the moment, with four feature released in the last three years, including “Wrath of Man,” “Operation Fortune: Ruse de Guerre,” “The Covenant” and “The Ministry of Ungentlemanly Warfare.” His next project, “In the Grey,” starring Henry Cavill and Jake Gyllenhaal, is currently in post-production, while he’s recently been shooting “Fountain of Youth,” starring John Krasinski and Natalie Portman. Black Bear is set for a splashy Cannes market, launching a number of high-profile new titles, including David Michôd’s untitled Christy Martin film, starring Sydney Sweeney as the champion boxer; Gregg Araki’s provocative thriller “I Want Your Sex,” starring Olivia Wilde; the Mahershala Ali and Tom Hardy thriller “77 Blackout” from director Cary Joji Fukunaga and producer Charles Roven; and an untitled Jason Statham and Baltasar Kormákur action thriller. Black Bear is also selling Potsy Ponciroli’s action/thriller “Motor City” starring Alan Ritchson, Shailene Woodley, Ben Foster, and Pablo Schreiber.
28270	yago	2	73	https://www.houseandgarden.co.uk/article/the-gentlemen-guy-ritchie-netflix	en	The Gentlemen: everything we know about Guy Ritchie's new Netflix show	https://media.houseandga…Tc3MTY@._V1_.jpg	https://media.houseandga…Tc3MTY@._V1_.jpg	[ "https://www.houseandgarden.co.uk/verso/static/houseandgarden/assets/logo.svg", "https://www.houseandgarden.co.uk/verso/static/houseandgarden/assets/logo-header.svg", "https://media.houseandgarden.co.uk/photos/66ba0084c43cf03c84bfda9b/1:1/w_90%2Cc_limit/undefined", "https://media.houseandgarden.co.uk/photos/65e5e9d4d2b50b838a959746/16:9/w_2560%2Cc_limit/MV5BYTNmYzFmNDAtMTMzZC00Y2I5LWJkZTYtZDlmYzBiOTVlM2MwXkEyXkFqcGdeQXVyODk4OTc3MTY@._V1_.jpg", "https://media.houseandgarden.co.uk/photos/61893ddf2b3485c018838b88/master/w_1600%2Cc_limit/cnstmmglpage000000206967-1.jpg", "https://media.houseandgarden.co.uk/photos/65ef17f6982ca45b64d736ad/master/w_775%2Cc_limit/TG_101_Unit_01626_RT.jpg", "https://media.houseandgarden.co.uk/photos/61893a81d9ae96d083cd0a3f/16:9/w_1600%2Cc_limit/cnstmmglpage000000206971-1.jpg", "https://media.houseandgarden.co.uk/photos/64e8a7a3485386006b0493d7/1:1/w_350%2Ch_350%2Cc_limit/undefined", "https://media.houseandgarden.co.uk/photos/66bb232e7e33ba915fa307d4/1:1/w_350%2Ch_350%2Cc_limit/undefined", "https://media.houseandgarden.co.uk/photos/66c34de32de0b1a055961756/1:1/w_350%2Ch_350%2Cc_limit/undefined", "https://media.houseandgarden.co.uk/photos/66ba0084c43cf03c84bfda9b/1:1/w_90%2Cc_limit/undefined", "https://media.houseandgarden.co.uk/photos/6697d93b0413bfad945d293e/1:1/pass/undefined", "https://media.houseandgarden.co.uk/photos/66321faab31748754ed2bcdb/1:1/pass/undefined", "https://media.houseandgarden.co.uk/photos/6189456262b737ababca158a/1:1/pass/undefined", "https://media.houseandgarden.co.uk/photos/66994c3ac63d05c147e47af7/1:1/pass/undefined", "https://www.houseandgarden.co.uk/verso/static/houseandgarden/assets/logo-reverse.svg" ]	[ "https://www.youtube-nocookie.com/embed/wyEOwHrpZH4" ]	[]	[ "" ]	null	[ "Charlotte McCaughan-Hawes", "James Peill", "Arabella Bowes", "Rebecca Cope", "Tilly Wheeler", "Christabel Chubb", "Virginia Clark", "Condé Nast" ]	2024-03-04T15:40:13.718000+00:00	Everything you need to know about ‘The Gentlemen’ from Guy Ritchie, his new action-packed Netflix series	en	https://www.houseandgarden.co.uk/verso/static/houseandgarden/assets/favicon.ico	House & Garden	https://www.houseandgarden.co.uk/article/the-gentlemen-guy-ritchie-netflix	Director Guy Ritchie is known for his guns blazing, male-dominated, gritty films that tend to focus on some form of mobster. Now, he's coming to Netflix with this exact formula, but shinier, with (a few) more women and in series form with The Gentlemen. Rather than two hours of fast-paced, quippy dialogue and Vinnie Jones cameos, fans can indulge in eight episodes of twists and turn and many a lovely location to swoon over. Who is in The Gentlemen? Theo James has transferred from Sicily and The White Lotus to the English countryside, portraying the main role of Edward (Eddie) Horniman, a young member of the aristocracy who becomes the Duke of Halstead, taking on his father's estate and all that comes with it – including the weed farm that sets the drug world against and within the landed gentry. Kaya Scodelario plays his counterpart; Susie Glass, a mobster's daughter (said mobster portrayed by Ray Winstone) who runs the business on the Halstead's land. Daniel Ings stars as Freddie Horniman, Eddie's older brother, while Vinnie Jones of course has to make an appearance, this time in the form of the estate manager who lives in his cottage with an array of wildlife he's rescued. Where can I watch The Gentlemen series? The Gentlemen will preview on Netflix on March 7. Is The Gentlemen a spin-off? The Gentlemen has nothing to do with Guy Ritchie's film by the same name, other than bringing together the idea of the original mobsters (aristocracy) with the new breed (drug gangs). The idea centres around the two meeting, but there is no crossover and the series is not a sequel to the film. Where was The Gentlemen filmed? The locations for The Gentlemen make it worth watching in themselves and range from the stately hall at Badminton House and its grounds to an underground weed farm made of shipping containers, via crumbling castles, London skyscrapers and private members clubs. Badminton, the grand country seat of the Dukes of Beaufort Gallery16 Photos View Gallery Is there a trailer for The Gentlemen?
28270	yago	2	53	https://www.thehindu.com/entertainment/movies/the-gentlemen-series-review-this-guy-ritchie-spin-off-is-stylish-and-senseless/article67947498.ece	en	‘The Gentlemen’ series review: This Guy Ritchie spin-off is stylish and senseless	https://th-i.thgim.com/p…tlemen_24732.jpg	https://th-i.thgim.com/p…tlemen_24732.jpg	[ "https://sb.scorecardresearch.com/p?c1=2&c2=123456&cs_ucfr=1&cv=2.0&cj=1", "https://www.thehindu.com/theme/images/th-online/h-circle-black-white-new.svg", "https://www.thehindu.com/theme/images/th-online/more-search.svg", "https://www.thehindu.com/theme/images/th-online/search-gray-icon.svg", "https://www.thehindu.com/theme/images/th-online/myaccount-gift-black-icon.svg", "https://www.thehindu.com/theme/images/th-online/account-btn-icon-black.svg", "https://www.thehindu.com/theme/images/th-online/account-btn-icon-black.svg", "https://www.thehindu.com/theme/images/th-online/menu-hamber-icon.svg", 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"https://www.thehindu.com/theme/images/th-online/1x1_spacer.png", "https://www.thehindu.com/theme/images/th-online/back-to-top-arrow.svg", "https://www.thehindu.com/theme/images/google-signin/th-online-icon.svg", "https://www.thehindu.com/theme/images/google-signin/group-12945.svg", "https://www.thehindu.com/theme/images/th-online/menu-close-icon.svg" ]	[ "https://www.youtube.com/embed/wyEOwHrpZH4?si=m59VrzyZLCLU-imz" ]	[]	[ "The Gentlemen", "Guy Ritchie", "Theo James", "Kaya Scodelario", "Daniel Ings", "Giancarlo Esposito", "the gentlemen tv series netflix", "the gentlemen tv show netflix", "gentlemen tv series guy ritchie", "gentlemen 2024" ]	null	[ "Mini Anthikad Chhibber" ]	2024-03-14T07:07:27+00:00	‘The Gentlemen’ series review: Though beautifully dressed with extraordinarily erudite turns of phrase, Guy Ritchie’s The Gentlemen-inspired series is rather boring	en	https://www.thehindu.com/favicon.ico	The Hindu	https://www.thehindu.com/entertainment/movies/the-gentlemen-series-review-this-guy-ritchie-spin-off-is-stylish-and-senseless/article67947498.ece	Guy Ritchie’s 2019 film, The Gentlemen, featured Mickey Pearson, played by Matthew McConaughey, using stately English homes to run his weed empire. The impoverished aristocrats used the rent for the upkeep of their historical homes. The latest eight-episode Netflix series, created by Ritchie, is inspired by the movie. Eddie (Theo James) is a brave soldier with the UN Peacekeeping Force solving disputes involving sheep on the Syrian border, when the family lawyer, Ahmed Iqbal (Ranjit Krishnamma), comes to tell him that his father, the Duke of Halstead (Edward Fox), is gravely ill. Eddie returns home to England and after the Duke’s death is shocked to learn that he (Eddie) has been named successor to the title and land. Freddie (Daniel Ings), Eddie’s elder brother, who should have inherited, is too cocaine-addled to be reliable. Though Freddie throws a mini-tantrum at being passed over, he soon calms down and tells Eddie the true reason for his distress. He apparently owes an evil Scouser, Tommy Dixon (Peter Serafinowicz), 8 million pounds. There is some mention of Sticky Pete (Joshua McGuire) and his money-making schemes. Just as Eddie is grappling with this seemingly insurmountable problem, Susie Glass (Kaya Scodelario) walks in. Susie tells Eddie some home truths, chief among them being that her father, Bobby Glass (Ray Winstone), presently in jail, was using the manor grounds to grow cannabis, paying an annual rent of 5 million pounds to Eddie’s father. While her father is in jail, Susie runs his business empire and meets the present duke to ensure the agreement still holds. Eddie would like to get Halstead Manor free of Glass’ clutches but also needs the criminals to extricate Freddie from his troubles. Over eight episodes, Eddie tries various deals and counter deals to get out all the while meeting a colourful cast of characters. All Ritchie trademarks are present — from the sudden shocking violence and jolly pop songs to wildly eccentric characters, wry, deprecating English humour, boxing, and hand-written subtitles in yellow to bring the audience up to speed. However, despite these enjoyable characteristics, The Gentlemen is criminally dull and going through the eight episodes is a drag. All the sharp edits and posh, poncy language cannot gloss over the glaring plot holes. For instance, for such a well-run drug empire, why is Jimmy (Michael Vu), the chief weed grower, sent alone with a van full of products to make the drop? Everyone seems to be playing gangsters — very well-dressed and well-spoken ones at that. As there is no chemistry between Eddie and Susie, we fail to be invested in them. The Gentlemen is all surface shine with no way into the different characters’ inner lives. Eddie’s mum, Lady Sabrina (Joely Richardson), is first presented as vague, but she knows of her husband’s deal with the devil and is worried about it corrupting her family. The groundskeeper, Geoffrey (Vinnie Jones), rescues all kinds of animals including a hedgehog, is left Luna, the family Labrador, by his Grace, and also has a specific set of skills. The aristos, from Bassington (Freddie Fox), an actor with an ugly secret to Princess Rosanne (Gaia Weiss), 11th in line to the Belgian throne swan around. The other side has its stock characters too, such as Glass Sr., with his fancy chef in prison; American billionaire Stanley Johnston (Giancarlo Esposito) — with a ‘T’; a double crossing distributor, Florian de Groot (Kristofer Hivju); the traveller family head JP (Laurence O’Fuarain), who uses statues of Mother Mary for unholy purposes; the Bible-thumping Gospel Dixon (Pearce Quigley); Toni Blair (Cameron Cook), the Albanian with a fondness for supercars and the former British Prime Minister; and Mercy (Martha Millan) dealing in cars and Colombian coke. Siblings form a key part of The Gentlemen. No matter how infuriating Freddie is, Eddie or Edwina as he is sometimes fondly called, always bails him out. Charly (Jasmine Blackborow), Eddie and Freddie’s sister, who is away studying at university according to the stipulations of her father’s will, is also close to her brothers. Susie’s brother, Jack (Harry Goodwins), is a professional boxer and inspires total loyalty from Susie who has been caring for him since her mum died when she was 10. All these colourful characters, no matter how well dressed or how they find themselves in increasingly hectic situations, do not translate to an engaging show.
28270	yago	1	5	https://www.rogerebert.com/reviews/guy-ritchies-the-covenant-movie-review-2023	en	Guy Ritchie's The Covenant movie review (2023)	https://s3.amazonaws.com…review-2023.jpeg	https://s3.amazonaws.com…review-2023.jpeg	[ "http://b.scorecardresearch.com/p?c1=2&c2=6324575&cv=2.0&cj=1", "https://www.rogerebert.com/assets/logo/rogerebert-fea9f2c27bcb671adfb84f275757a289ffd85f5370aeffb12f481bf5a3241543.svg", "https://www.rogerebert.com/assets/logo/rogerebert-fea9f2c27bcb671adfb84f275757a289ffd85f5370aeffb12f481bf5a3241543.svg", "https://www.rogerebert.com/assets/icons/great-movies-small-9dfdde4ea69b270580c266f0e23c6a65b4ede6004cd164c31560e7c1860677f7.svg", "https://s3.amazonaws.com/static.rogerebert.com/uploads/review/primary_image/reviews/guy-ritchies-the-covenant-movie-review-2023/guy-ritchies-the-covenant-movie-review-2023.jpeg", "https://s3.amazonaws.com/static.rogerebert.com/uploads/user/primary_image/robert-daniels/featured_IMG_0553__2_.jpg", "https://s3.amazonaws.com/static.rogerebert.com/uploads/movie/movie_poster/the-fabulous-four-2024/widget_MV5BZGQ3M2RlYmUtYjg1Mi00ZjdmLWJhMzAtNWU1YWQzMzJhM2YwXkEyXkFqcGc_._V1_.jpg", "https://s3.amazonaws.com/static.rogerebert.com/uploads/movie/movie_poster/oddity-2024/widget_MV5BMDUxYjVmMDgtOGNhZC00ZDFiLWI5MjYtZjZkODAxYmM3ZGIyXkEyXkFqcGc_._V1_.jpg", "https://s3.amazonaws.com/static.rogerebert.com/uploads/movie/movie_poster/war-game-2024/widget_MV5BYzUwZTg1NmUtNWE1YS00OWFiLTk3NzctYjYwZjM0MDJkMGVmXkEyXkFqcGdeQXVyMTAyMjQ3NzQ1._V1_FMjpg_UX1000_.jpg", "https://s3.amazonaws.com/static.rogerebert.com/uploads/movie/movie_poster/longlegs-2024/widget_LONGLEGS_Official_Poster_Full.jpg", "https://s3.amazonaws.com/static.rogerebert.com/uploads/movie/movie_poster/d%C3%ACdi--2024/widget_GS_FOCUS_DID_Teaser_Digital_1080_x_1600_FIN01.jpg", "https://s3.amazonaws.com/static.rogerebert.com/uploads/movie/movie_poster/close-to-you-2024/widget_MV5BN2ZkODYzNzMtZGJlNy00YTM5LWE5NjQtOTc2ODQwOGMyY2ZmXkEyXkFqcGc_._V1_FMjpg_UX1000_.jpg", "https://s3.amazonaws.com/static.rogerebert.com/uploads/movie/movie_poster/guy-ritchies-the-covenant-2023/large_guy-ritchies-the-covenant-movie-poster-2023.jpeg", "https://s3.amazonaws.com/static.rogerebert.com/uploads/blog_post/primary_image/tributes/in-memoriam-alain-delon/thumb_alaindelonob.jpg", "https://s3.amazonaws.com/static.rogerebert.com/uploads/blog_post/primary_image/tributes/conversation-piece-phil-donahue-1935-2024/thumb_phild.jpg", "https://s3.amazonaws.com/static.rogerebert.com/uploads/blog_post/primary_image/interviews/subjective-reality-larry-fessenden-on-crumb-catcher-blackout-and-glass-eye-pix/thumb_unnamed__3_.jpg", "https://s3.amazonaws.com/static.rogerebert.com/uploads/blog_post/primary_image/features/book-excerpt-a-complicated-passion-the-life-and-work-of-agn%C3%A8s-varda-by-carrie-rickey/thumb_Varda_Cover.jpg", "https://s3.amazonaws.com/static.rogerebert.com/uploads/movie/movie_poster/alien-romulus-2024/widget_alinerom.jpg", "https://s3.amazonaws.com/static.rogerebert.com/uploads/movie/movie_poster/caligula-the-ulitmate-cut-2024/widget_MV5BYjBhNjFlYjAtMjhiMS00YmI3LTg2YzctNmQzNTU4OGZlNTczXkEyXkFqcGdeQXVyNTM0NTU5Mg__._V1_FMjpg_UX1000_.jpg", "https://s3.amazonaws.com/static.rogerebert.com/uploads/movie/movie_poster/ghostbusters-frozen-empire-2024/widget_ghostbusters_afterlife_two_ver6.jpg", "https://s3.amazonaws.com/static.rogerebert.com/uploads/movie/movie_poster/jackpot-2024/widget_MV5BMmQ2ZGU3ODYtNzA0Yi00NDlhLWIxNzYtM2E2Y2FhOGNjZjIyXkEyXkFqcGc_._V1_FMjpg_UX1000_.jpg", "https://www.rogerebert.com/assets/v2/ebert-thumb-a5ab7247762a64276f661a297845728fe95378b486e41852925efc73accc4aa9.svg", "https://www.rogerebert.com/assets/v2/roger-f7d187c3e0336205f50f366bdce798210b160173facf59555f66c0b5dfa284e2.png", "https://pixel.quantserve.com/pixel/p--5eK9YWya67RJ.gif" ]	[]	[]	[ "" ]	null	[ "Robert Daniels" ]	null	Guy Ritchie’s The Covenant could have been so more than a muscular, overwrought war film.	en	/assets/fav/apple-touch-icon-57x57-9e12b6d6d15bfb3e86f09c3fc7d58a6f8a2d808cb856df9c1ada23480cda1dae.png	https://www.rogerebert.com/	https://www.rogerebert.com/reviews/guy-ritchies-the-covenant-movie-review-2023	If “The Covenant” were only an interrogation of the hollowness of American exceptionalism, as its first hour suggests, it’d be among the most honest portrayals of the country’s role in the region. But Ritchie eventually awakens from his stupor, pushing this combat-action flick to gonzo territory. In “The Covenant,” we’re immediately given an immersive view of the dangers hanging over all involved. For instance, during the opening scene Kinley and his men—a team specializing in the recovery of explosives or weapons of mass destruction—are conducting roadside checks. Their translator attempts to get an Afghan truck driver to open his payload, only for a bomb to be detonated, murdering the translator and two other soldiers. When Ahmed arrives to fill the vacant position, it might surprise the viewer to hear his brusqueness; the job is merely a paycheck to him. We discover later that Ahmed is more attached to bringing down the Taliban than he lets on. That stoicism gives the script by Ritchie, Ivan Atkinson, and Marn Davies so much intrigue. Because though the gaze of cinematographer Ed Wild’s camera appears attached to Kinley, it’s actually enraptured by Ahmed. From knowing the local drug trade to being able to tell when someone is lying instantly, Ahmed demonstrates that he is an intelligent man intimately aware of the happenings around him. He is unafraid to speak up or to go off script, such as negotiating with an informant or correcting the unamused Kinley of his errors. Salim is totally connected with how his broad frame plays to the camera; how these soldiers see him as a threat, often not even acknowledging his presence, even though he is there to help them. Sadim also displays an intelligence that runs counter to the brawny, gut-check soldier seen in other war films. However, fissures break open when Ritchie turns his visual interests away from Salim to Gyllenhaal. When an attack leaves Ahmed and Kinley fighting through the Afghan wilderness back to base, the specter of the unequal relationship Sidney Poitier and Tony Curtis shared in “The Defiant Ones” rears its ugly head: Will this partnership cause Kinley to finally see the inherent humanity of Ahmed? Admittedly, Kinley doesn’t wholly disregard Ahmed’s presence like Curtis does to Poitier. It's suggested through Gyllenhaal’s psychologically firm performance that he trusts and even somewhat admires Ahmed. And yet, the personal distance outside the workplace setting of war is apparent. As opposed to the other soldiers under his care, Kinley would rather not know anything about Ahmed, making their flight toward freedom through the wilderness an uneven arrangement whereby Ahmed is tethered to Kinsely not solely through loyalty (and really, not even out of friendship), but an unearned honoring of the camaraderie shared by soldiers in combat. From there, “The Covenant” quickly flies off the rails as it aligns closer to being like other Ritchie movies, such as “Wrath of Man” or “The Gentlemen.” Kinley experiences rabid fever dreams shot from oblique angles, with frames sped up and slowed down, as a cacophony of sights and sounds nearly overwhelm the picture. The film’s entire second half also devolves into Kinley, now back home in America, trying to obtain visas for Ahmed and his family, who are in hiding. The phone calls by Kinley, which force him to jump through bureaucratic hoops, express how apathetic the system is toward Afghan translators. Ritchie tells of a reality that sees America promising one thing, only to use up their ally and then cut them loose when they are of no more value. It’s a story that arose two years ago when America withdrew from Afghanistan, leaving many collaborators at the mercy of the Taliban. America’s failure is a truth worth telling, but Ritchie can’t help himself but to dress these scenes with grating, melodramatic cliches. Kinley’s dutiful wife (Emily Beecham) is outlined as merely a supportive spouse, and Kinley becomes a character based more on shock value than aching, organic feelings. Gyllenhaal does his best to shoulder Ritchie’s consistent tonal missteps. But there’s only so much he can do as his director steers “The Covenant” closer to James Bond territory. The explosions go bigger, the slow motion goes slower, and the bullets seemingly fly further in a final set piece placed atop a dam that defies the firm realism that governs the film's first half. As black site contractors use an AC-130 gunship (an angel of death) to help Kinley and Ahmed, should we be grateful for the overwhelming firepower on display or rightfully horrified? When the credits roll, and we see white soldiers smiling with their arms around their Afghan translators—some with their faces blurred or their eyes blacked out—should we be touched or haunted? “Guy Ritchie’s The Covenant” could have been more than a muscular, overwrought war film. It could have been a revealing and controlled, thought-provoking examination of what went wrong in Afghanistan. Unfortunately, the latter is a promise that Ritchie can’t keep. In theaters today.
28270	yago	2	45	https://www.britannica.com/biography/Guy-Ritchie	en	Guy Ritchie \| British director	https://cdn.britannica.c…e.jpg?v=3.124.35	https://cdn.britannica.c…e.jpg?v=3.124.35	[ "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/mendel/eb-logo/MendelNewThistleLogo.png", "https://cdn.britannica.com/04/79904-131-6DCAD337/Elizabeth-II-speech-throne-Parliament-state-opening-1958.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/58/156058-131-22083D0A/Adolf-Hitler.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/62/192062-131-96B933EF/mug-shot-Colombia-control-agency-Medellin.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/22/232222-050-C7D008B3/Hand-ballot-box-vote-election.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/13/195913-131-E6C2B632/World-map-Oceans-Continents.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/16/175316-131-39FF106B/Big-Sur-Waves-Beach-Pacific-Ocean-Point.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/31/142331-131-EE300AF6/basketball-Orange-background-lighting-Homepage-entertainment-history-2010.jpg?w=200&h=200&c=crop", "https://cdn.britannica.com/71/136271-050-0ADF0A0E/Madonna-show-tour-Sweet-Tel-Aviv-Yafo-Sept-2-2009.jpg?w=300", "https://cdn.britannica.com/15/218215-050-193E7ED1/English-actor-Jason-Statham-2016.jpg?w=300" ]	[]	[]	[ "Guy Ritchie", "encyclopedia", "encyclopeadia", "britannica", "article" ]	null	[]	null	Other articles where Guy Ritchie is discussed: Madonna: Music career of the late 1990s and 21st century: … and another to English director Guy Ritchie (married 2000; divorced 2008), with whom she had a son, Rocco, Madonna remained resolutely independent. (She also later adopted four children from Malawi: David Banda, Mercy James, Stella, and Estere.) That independent streak, however, did not prevent her from enlisting the biggest names…	en	/favicon.png	Encyclopedia Britannica	https://www.britannica.com/biography/Guy-Ritchie	In Madonna: Music career of the late 1990s and 21st century … and another to English director Guy Ritchie (married 2000; divorced 2008), with whom she had a son, Rocco, Madonna remained resolutely independent. (She also later adopted four children from Malawi: David Banda, Mercy James, Stella, and Estere.) That independent streak, however, did not prevent her from enlisting the biggest names… Read More In Jason Statham: Early life …crime comedy, which was director Guy Ritchie’s first feature film, earned widespread praise. It also marked the start of a productive—and lucrative—director-actor friendship. Statham was later cast in Ritchie’s second film, Snatch (2000), which also featured Brad Pitt. Both films were commercial hits, and they helped catapult Statham to stardom. Read More
28270	yago	2	12	https://time.com/6837616/the-gentlemen-review-netflix/	en	Review: Netflix's 'The Gentlemen' Is Weirdly Tedious	https://api.time.com/wp-…200&h=628&crop=1	https://api.time.com/wp-…200&h=628&crop=1	[ "https://api.time.com/wp-content/uploads/2024/03/TG_102_Unit_00045_RT.jpg?quality=75&w=384 384w, https://api.time.com/wp-content/uploads/2024/03/TG_102_Unit_00045_RT.jpg?quality=75&w=640 640w, https://api.time.com/wp-content/uploads/2024/03/TG_102_Unit_00045_RT.jpg?quality=75&w=750 750w, https://api.time.com/wp-content/uploads/2024/03/TG_102_Unit_00045_RT.jpg?quality=75&w=828 828w, https://api.time.com/wp-content/uploads/2024/03/TG_102_Unit_00045_RT.jpg?quality=75&w=1080 1080w, https://api.time.com/wp-content/uploads/2024/03/TG_102_Unit_00045_RT.jpg?quality=75&w=1200 1200w, https://api.time.com/wp-content/uploads/2024/03/TG_102_Unit_00045_RT.jpg?quality=75&w=1440 1440w, https://api.time.com/wp-content/uploads/2024/03/TG_102_Unit_00045_RT.jpg?quality=75&w=1690 1690w, https://api.time.com/wp-content/uploads/2024/03/TG_102_Unit_00045_RT.jpg?quality=75&w=1920 1920w, https://api.time.com/wp-content/uploads/2024/03/TG_102_Unit_00045_RT.jpg?quality=75&w=2400 2400w", "https://api.time.com/wp-content/uploads/2024/03/TG_102_Unit_00648_NEW_RT.jpg?quality=75&w=384 384w, https://api.time.com/wp-content/uploads/2024/03/TG_102_Unit_00648_NEW_RT.jpg?quality=75&w=640 640w, https://api.time.com/wp-content/uploads/2024/03/TG_102_Unit_00648_NEW_RT.jpg?quality=75&w=750 750w, https://api.time.com/wp-content/uploads/2024/03/TG_102_Unit_00648_NEW_RT.jpg?quality=75&w=828 828w, https://api.time.com/wp-content/uploads/2024/03/TG_102_Unit_00648_NEW_RT.jpg?quality=75&w=1080 1080w, https://api.time.com/wp-content/uploads/2024/03/TG_102_Unit_00648_NEW_RT.jpg?quality=75&w=1200 1200w, https://api.time.com/wp-content/uploads/2024/03/TG_102_Unit_00648_NEW_RT.jpg?quality=75&w=1440 1440w, https://api.time.com/wp-content/uploads/2024/03/TG_102_Unit_00648_NEW_RT.jpg?quality=75&w=1690 1690w, https://api.time.com/wp-content/uploads/2024/03/TG_102_Unit_00648_NEW_RT.jpg?quality=75&w=1920 1920w, https://api.time.com/wp-content/uploads/2024/03/TG_102_Unit_00648_NEW_RT.jpg?quality=75&w=2400 2400w" ]	[]	[]	[ "" ]	null	[ "Judy Berman" ]	2024-03-07T12:00:00+00:00	Guy Ritchie's series-length adaptation of his 2019 film proves that a little of his stylish, quippy sensibility goes a long way.	en	/favicon.ico	TIME	https://time.com/6837616/the-gentlemen-review-netflix/	“Do you know what I love about the British aristocracy?” asks an astute character in Netflix’s The Gentlemen. “They’re the original gangsters. The reason they own 75% of this country is because they stole it. William the Conqueror is worse than Al Capone.” This is the central joke of the series, created by Guy Ritchie as an extension of his 2019 film: that landed nobility have more in common with the thugs who run the criminal underworld than they’d like to admit. Like many of the show’s tropes, it’s a clever notion that gets old long before the end of the season, which will be available to stream on March 7. To his credit, instead of rehashing the original Gentlemen, Ritchie—who helped write and direct the Netflix adaptation—has cooked up a new story set in a similar world. The dialogue is as quippy, the visual style as slick, and the casting as inspired as fans have come to expect from Britain’s reigning king of the pitch-black crime comedy. But a little of Ritchie’s sensibility goes a long way; what’s exhilarating every few years at the cinema can become tedious when repeated throughout eight episodes. The White Lotus and Divergent alum Theo James gives a dynamic performance as Capt. Eddie Horniman, the second son of a duke, who has found success as an army officer in lieu of the inheritance he assumes will go to his older brother, Freddy (Daniel Ings, very funny). Called back to the family estate to bid farewell to his dying father, Eddie learns that the duke’s will names him as the heir. It shouldn’t be that surprising; Freddy is an idle, debauched mess. And now his problems—including an $8 million debt to a local gangster—are Eddie’s problems. The Hornimans don’t have that kind of cash on hand because, like so many aristocrats since the Downton Abbey era, their wealth is tied up in their palatial home and 15,000-acre grounds. Luckily—or not—it turns out the duke was monetizing that estate by allowing drug lord Bobby Glass (Ray Winstone) to grow massive quantities of marijuana on the property. Now Bobby is in prison, but his daughter Susie (Kaya Scodelario, as enchantingly ice-cold here as she was in her breakout Skins role) is a powerful and canny enough surrogate to help resolve Freddy’s debts. The problem is, Eddie wants to extricate his family from the Glasses’ scheme and Susie has no intention of letting him out. Grow house aside, she sees how the unflappability he’s cultivated in the military could make him an asset to her. As he navigates the endless series of obstacles she places in the way of his freedom, he unwittingly develops a taste for crime. Their relationship, with smartly underplayed hints of romantic tension, is the highlight of the show. Both hypercompetent and calm under pressure, these two characters from different worlds make an ideal team. Yet they can’t fully trust each other because their aims are fundamentally incompatible. Also, Eddie is more bothered than Susie is by the collateral damage of criminal enterprise. Thus begins a back-and-forth that gives the season its shape. In most episodes, they’re charged with completing a task that will supposedly bring him one step closer to ending the Hardimans’ arrangement with the Glasses. Then, often due to Eddie’s inexperience or Freddy’s volatility (his new-found resentment of his younger brother doesn’t help), something goes wrong. A series of gritty, violent twists ensues, until the current hurdle is cleared and a new one is placed in Eddie’s way, to be tackled in the following episode. As usual, Ritchie adds color by introducing a parade of eccentric minor characters. There’s the Glasses’ chief grower Jimmy Chang (Michael Vu), a Rasta-lite stoner and weed-cultivation savant whose carelessness in his personal life could make trouble for his boss. A gangster named Gospel John (Pearce Quigley) campily mixes Christian zealotry with Old Testament fury. Giancarlo Esposito plays the mysterious Stanley Johnston, a genteel American billionaire determined to buy his way into the British aristocracy (or at least into the Hornimans’ estate), with secrets that call back to Gus Fring, Esposito’s Breaking Bad and Better Call Saul character. The action is equally quirky. An early explosion of violence begins with Freddy in a chicken suit. When the blood flows, so too, in what is now a gangster-movie cliché, does the histrionic choral music. Ritchie fans (not to mention fans of Quentin Tarantino) will recognize the snappy, stylized, allusive dialogue, from lengthy conversations about fast-food breakfasts to exchanges like: “What are the options?” “Frying pan or fire.” Scenes are often annotated with handwritten on-screen text that calculates monetary transactions and provides vital stats on new characters. This sort of style-over-substance filmmaking can be lots of fun in a feature—especially at its freshest, in early Ritchie efforts like Snatch and Lock, Stock, and Two Smoking Barrels. Even when the original Gentlemen got tangled in its own twists, the movie’s brisk pace and charming A-list cast (Matthew McConaughey, Hugh Grant, Henry Golding, Michelle Dockery, Colin Farrell) maintained its momentum. The show’s cast may be less famous, but their performances are just as impressive. And there are ways in which it improves on its source material; the plot is more comprehensible, there’s less casual racism and antisemitism in the script, and Scodelario gets the heaps of screen time she deserves in a variation on Dockery’s underwritten role. But midway through season, Ritchie’s signature affectations get tiresome, and the format predictable. A dearth of salient themes leaves The Gentlemen repeating its one big idea: “People either survive in the jungle or exist in the zoo,” as one character describes the lives of criminals and aristocrats, respectively. That may be true, but if you spend too long in a familiar jungle, wild animals might become as boring to watch as their counterparts in posh captivity.
28270	yago	2	86	https://www.forbes.com/sites/rachelelspethgross/2024/06/18/loulou-bontemps-on-dressing-guy-richies-the-gentlemen/	en	Loulou Bontemps On Dressing Guy Ritchie’s ‘The Gentlemen’	https://imageio.forbes.c…=1600&fit=bounds	https://imageio.forbes.c…=1600&fit=bounds	[]	[]	[]	[ "Guy Richie", "The Gentlemen", "Netflix", "Loulou Bontemps", "costume design", "chicken suit", "fashion design", "Susie Glass", "The Gentleman", "Gentlemen series" ]	null	[ "Rachel Elspeth Gross" ]	2024-06-18T00:00:00	The fabulous costumes for the series were designed by Loulou Bontemps, who has worked with Ritchie on many projects.	en	https://i.forbesimg.com/48X48-F.png	Forbes	https://www.forbes.com/sites/rachelelspethgross/2024/06/18/loulou-bontemps-on-dressing-guy-richies-the-gentlemen/	Like many stories about the transition of power from one generation to the next, The Gentleman opens with refined aggression. This story was first a feature film, written and directed by Guy Ritchie, with costumes designed by Michael Wilkenson. Now it is also a series on Netflix, halfway between a continuation of the film and a spin-off, produced and sometimes directed by Ritchie, who wrote the series with Matthew Read. The fabulous costumes for the series were designed by Loulou Bontemps, who has worked with Ritchie on many projects. I spoke with Bontemps about the series, which I quickly learned was more similar to producing eight sequential feature films than the typical streamable series. When we first meet our protagonist, Eddie Horniman (Theo James), he has only just been tracked down by the long-suffering Ahmed (Ranjit Krishnamma), the Horniman family solicitor. He has been sent to retrieve him, a task likely beneath his pay grade, which Eddie recognizes with subtle distress. Before long he has lost his captain’s uniform and donned civvies that are essentially the type worn by a country gentleman. A style of dress, which in its own way, is a sort of neutral. Eddie is obviously doing his level best to be what is expected of him, and he performs his duties well. He is a second son, the spare we’ve all heard of, and this one has been forced home by filial guilt to attend the bedside of his dying father. It's sad, but it is also a familiar opening. This is not a criticism. The adherence to motif and tale-type is crucial to any storyteller who wishes to elicit the attention of an audience, and this story benefits from Ritchie’s signature (read: playful) repartee. It would be impossible to deny the relationship between film and series, and that seemed the most natural place to start asking Bontemps about designing costumes for the show. I had to ask about how that works, as there is a unique challenge there. “I wanted to pay homage, the film was such a hit and Michael Wilkinson did such a great job,” she told me. “But after I read the first two episodes, I realized, okay, even though it's the same world and the same sort of ‘Guy Ritchie’ storyline, it is completely different. It was fun, and challenging, to recreate it in a different light with these different characters.” The most important thing, Bontemps told me, was to help create a show that people would enjoy, for the fans of the film to get more of a story that they already loved. Almost immediately we learn why Eddie chooses to live and work so far from the part of the world he grew up in. That world centers around a country manor, Badminton House, which is a very fancy, Grade 1 Listed Building, in Badminton, Gloucestershire, England. Ian Fleming wrote (in Goldfinger) that “Once is happenstance. Twice is coincidence. Three times is enemy action. Three times is enemy action.” Agatha Christie’s Miss Marple noted that “any coincidence is worth noticing. One has to wonder if it is a Shakespeare homage to tell a story about a father’s complicated relationship with his children, with the plot moved steadily along by the conflict which arises from who is supposed to inherit what. Using a house in a shire named after Gloucester for the Horniman family home seems like a pattern, or like a coincidence worth noting. I did not speak with Mr. Ritchie or Mr. Read, but judging solely on the quality and caliber of Bontemps work, I would be very surprised to find out that references to King Lear were unintentional. I have argued here before that excellent costume design is a tool that even the best performer can benefit from. It has other roles, important roles, perhaps especially when the bulk of the characters we see on screen are at least tangentially dressed the same as people today. Clothing is a way we identify ourselves to others, and in return it is a way that we can decide where to file other people in our own internal classification systems. That could sound ominous, but when you consider the context, it is simply another way that costume is of use; to convey information that might not be possible or reasonable to explain. Bontemps worked in tandem with Richie to flush out the characters before the actors imbibed them. “You start with a conversation,” Bontemps explained. “Who is this person? Where did they go to school? Where were they born? Where did they grow up? Where did they go on holiday? You know, who is their family? Do they care about their family? How wealthy are they? What is a luxury item to them?” All told, there were untold hours spent considering all of this long before any cameras started rolling. Bontemps likes that though, it helps her do her best work, “you really get immersed into that world of that character. And that's what he [Guy Ritchie] wants his audience to feel.” Once ferried home, we learn quickly why exactly Eddie chooses to live so far from the family estate; his family is a lot. Nevertheless, he returns home for his father, this is the right thing to do and at this story's beginning, our hero is clinging to a semblance of routine and normalcy. He dresses as his station requires, minimal like the military man we know he is. Lord Horniman, Eddie’s father is dressed for the occasion, his own death, and it feels undeniable that the character would have picked this exact look with care for the image it would leave. Bontemps knew this, or she made it true, or some ineffable combination of those things. There is also something more mischievous afoot, an avidity that is more than we usually get from stories about crimes and the people who commit them. Lord Horniman chose a whorl of jewel toned paisley with accent lapels, a cravat. Formal to the end, that one, and is a perfect set up for the caper which is about to begin. Though his last words are far less gentlemanly, perhaps hinting at a more malleable definition of the title that the commencing action will force its viewer to accept. There is a lot of forced acceptance in this story. Freddy (Daniel Ings), the chaotic older brother to our hero Eddie, will have to accept being passed over for the title and inheritance generally relegated to the first born son. The Horniman family, with the exception of Freddy and his wife Tasmina (Chanel Cresswell), is relieved by this anomaly and the deus ex machina it represents for their collective future wellbeing. It is significant that this show is at its heart a comedy of errors, albeit one augmented with enough traditional tragedy to account for all the bloodshed. The series is also only the second time Guy Ritchie has ventured into episodic television. (The first time was Channel 4 miniseries called Lock, Stock… which aired in 2000 and was itself a spin-off of another of Ritchie’s films, his debut feature film, the infamous and much lauded 1998 film, Lock, Stock and Two Smoking Barrels. His third series, The Donavan’s, an extension of the popular Showtime series Ray Donavan, will debut on Paramount + later this year.) This show is epic, in the manner usually attributed to feature film, and the similarity to a movie extended deeply into the costume design. “Every episode was like a film because there were so many characters. It's not normal in TV to have that many story days.” The span and breadth of stylized costume is immense, and undertaking this project was no small feat. Susie Glass (Kaya Scodelario, who has been nominated for Outstanding Performance in a Comedy Series for the inaugural Gotham TV Awards for her work) is a walking fashion plate. One with sharp edges. Whether channeling Cleopatra (that hair!) or Jackie Kennedy as played by Parker Posey (that pink suit!), there is no doubt that Susie’s wardrobe is the envy of many a modern woman. “Everybody has reached out to me about Susie's wardrobe, but they all want to know where they can go and get it,” Bontemps told me. Unfortunately, purchasing Susie’s style, “over 60 costumes in total,” is close to impossible, as Scodelario’s wardrobe was a mix of vintage, bespoke, and off the rack. “Find your style statement,” advises Bontemps, “and try and encourage people to just go out and go to thrift stores and mix it up, or go back into your own wardrobe and see what you've got buried away and just reinvent it and have fun with it.” The same advice could apply to the wardrobe of Sabrina Horniman, dowager Duchess of Halstead, played by the magnificent Joely Richardson. Getting back to my argument for costume as a tool, Sabrina’s wardrobe is a definitive example of how possible it is to communicate with an audience without uttering a word of exposition. Bontemps told me that she worked closely with production designer Martyn John, and that their pas de deux is the reason for so many stunningly beautiful scenes. “I work really closely with Martyn,” Bontemps explained. “He and I like colors, we love colors and Guy and the DP [director of photography], Ed Wilde, are not scared of colors, which is wonderful for us both.” The ease of the working relationship was an asset on a set likely to be in flux on any given day, not because of any human faults, but because there are so many characters, scenes and locations to manage. “Working with him, whenever there's a change, he's like, well, I've suddenly got to paint the wall blue. What are your characters wearing? You know, little things that people don't think about. But we have such a wonderful, creative language together and rhythm together, Ed, Martin and I, that, and within our own teams as well. So whenever something wild happens, we kind of just, you know, assemble and work it out.” Jolie Richardson is regal in this role, no lesser word would suffice. Daphne Guinness was part of Bontemps inspiration for the Horniman family matriarch, as is Vivienne Westwood. “These iconic women who just break all the rules and make their own style statements are just such wonderful inspirations. They kind of make you want to be brave with your own work and your own wardrobe. So yeah, she [Guinness ] was absolutely on my boards because we had this first funeral, where you see Jolie Richardson wearing this magpie on her head. And to me, that is Daphne Guinness as well.” The male characters, of which there are many, from Dixon’s to Johnstone-with-a-T, and their costumes received equally as much attention as the ladies. Geoff (Vinnie Jones), who takes care of the Horniman’s grounds, is always impeccably dressed, as if he’s planning on fading into the background. Poor Jimmy, with his awful rainbow knit cap, is effortlessly pitiable. Those Dixons are appropriately ragged about the edges and generally look worrisome. But Bontemps impeccable skills are put to best use when dressing the gentlemen in this tale. Stanley Johnston (Giancarlo Esposito) is anodyne. We know this from when we first see him. He is dressed as he believes a self-made oligarch should be. Even his vices are a little boring, if expensive. Though he has the bankroll to stir things up, ultimately he is no contender, as his wardrobe informs us from the start with its lack of originality. Bobby Glass (Ray Winston) is the complete opposite. From his luxury version of prison we see a parade of suits wherein the remarkable talents of Savile Row are on tasteful display. Bobby Glass, it seems only proper to refer to him by his whole name, is always a sartorial joy to behold. Most ungentlemanly, forgive the pun, is the chicken costume which steals focus, rightly so, in the bridge between the first and second episodes. As it is now widely known, Freddy Horniman, the brother passed over for his father’s title due to his addiction to cocaine and generally blasé attitude towards all things serious, spends almost much of his time wearing what has come to be known on social media as “C*ck Couture.” It is a chicken suit, like a mascot might wear, though a bespoke version. Three chicken suits were made, Bontemps told me, “one for the stunt and a spare one, and one for Freddie's hero.” It’s probably obvious why this particular costume has drawn so much attention, but Bontemps was quick to credit her team for the success of the costume. “What a lot of people miss is that I talk about who made it. I had this incredible maker, Blossom Sebastian is her name. I have such a wonderful team who listen to my craziness, look at all my drawings and my boards and get lost in my world with me. I had a huge team. And I'm only as good as my team, you know?” There are ceremonies in the UK which have failed to take hold in the US, and are important to the narrative, Bontemps gracefully explained further. “In the British aristocracy, when somebody like that [an aristocrat] dies, you have all these celebrities and royalty, as well as aristocrats that come to these funerals. They look like absolutely incredible fashion events. Everyone's wearing something dramatic. So I wanted to bring that in, and I used that with Jolie. I made sure that I brought that in with some of the crowd. I mean, Freddie's funeral gear, he's wearing a proper mourning suit.” Formality, like the walls in the Horniman home, does not suffer from lack of ornament.
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https://platform.polygon.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/25439646/Polygon_TVRecommendations.jpg?quality=90&strip=all&crop=0%2C0%2C100%2C100&w=1440 1440w, https://platform.polygon.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/25439646/Polygon_TVRecommendations.jpg?quality=90&strip=all&crop=0%2C0%2C100%2C100&w=1920 1920w, https://platform.polygon.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/25439646/Polygon_TVRecommendations.jpg?quality=90&strip=all&crop=0%2C0%2C100%2C100&w=2048 2048w, https://platform.polygon.com/wp-content/uploads/sites/2/chorus/uploads/chorus_asset/file/25439646/Polygon_TVRecommendations.jpg?quality=90&strip=all&crop=0%2C0%2C100%2C100&w=2400 2400w" ]	[]	[]	[ "" ]	null	[ "Austen Goslin" ]	2024-03-09T17:00:00+00:00	The Gentlemen, the new Netflix series from Guy Ritchie, isn’t exactly a remake or sequel, but it does feel like it’s building on Guy Ritchie’s signature style.	en	/static-assets/icons/favicon.ico	Polygon	https://www.polygon.com/24094684/netflix-gentlemen-guy-ritchie-show-movie-series-good	Guy Ritchie is a more dexterous filmmaker than people give him credit for. Sure, all his movies are similar in spirit — kinetic action movies with a wry sense of Extremely British Humour, but his deftness comes at knowing which element of his style needs to be emphasized for each particular project. Just last year he released two movies, The Covenant and Operation Fortune, with wildly different tones — Operation Fortune skewing more toward screwball comedy, and The Covenant being an excellent and serious look at the tensions of wartime bureaucracy. But even appreciating all that filmmaking flexibility, his fantastic new series on Netflix, The Gentlemen, lets Ritchie get back to his U.K. crime roots and refine the vibes he does best. Despite having the same title as a previous Ritchie movie, The Gentlemen isn’t exactly a direct sequel or remake of the film. Instead, it’s more spiritually linked specifically via the connections of drugs, boxing, and British dynastic wealth — three things Ritchie has always seemed fascinated by as an artist. The show follows Eddie (Theo James), a former soldier who gets pulled out of the military when his father dies so he can take over his dukeship, which his father passed onto him instead of his older brother. While the title itself is a surprise, the bigger shock comes when Eddie discovers that his seemingly law-abiding father had been renting his land to a drug empire for the last several years, a business venture Eddie is keen to extricate the family from as fast as possible. Something he can only do, of course, by committing quite a few crimes in the process. The Gentlemen should feel instantly recognizable to anyone who’s seen Ritchie’s earlier work, particularly Lock, Stock and Two Smoking Barrels or Snatch. The show is full of gangsters with Coen brothers criminal buffoonery and Tarantino-movie mouths. Where it diverges from those early Ritchie movies is in its level of focus, at least in the first few episodes that I’ve seen so far. Rather than jumping between perspectives, playing out half a dozen stories at once and waiting for them to converge, The Gentlemen keeps the action tight on Eddie, his brother Freddy (Daniel Ings), and Susie Glass (Kaya Scodelario), the woman in charge of the drug business on Eddie’s property. By keeping things a little more tidy than Ritchie has in the past, The Gentlemen gives us more time to understand and appreciate its leads. The characters, particularly Eddie and Susie, are well-drawn and precise, more carefully rounded and interesting than any of Ritchie’s early gangsters and deserving of the attention the show pays them. Little gestures feel deeply revealing of who these people are and the ways they both are and aren’t comfortable around the violence that their illegal activities often make necessary. Of course, it’s still a Guy Ritchie project, so the three lead characters are surrounded constantly by a ridiculous, fascinating, and deeply funny supporting cast. The episodic format pays dividends here, allowing these characters to jump into the story as broad caricatures and jump out of the story the second they’re no longer needed. The Gentlemen uses this to pull in bizarre criminals, like a machete-wielding chop shopper with a hair trigger for violence or a hardass drug dealer with a hunger for a viral chicken dance video. All these characters are weird, funny, and perfect for building out the show’s deeply strange, but thoroughly enjoyable, criminal underworld. All of these shenanigans are unmistakably Guy Ritchie-flavored, but another of The Gentlemen’s great joys is seeing Ritchie’s sensibilities filtered through so many other people. While Ritchie is the creator of The Gentlemen, he only wrote and directed two of the show’s eight episodes and worked as a collaborator to oversee the rest. The episodes Ritchie didn’t write still feel distinctly like part of his world, but in a slightly refreshing and different voice that helps keep things fun. Ritchie has found success in plenty of different movies and genres over the last several years. Even his Sherlock Holmes movies are refreshingly well made after a decade of flat-feeling blockbusters. But The Gentlemen proves he hasn’t lost his step when it comes to buffoonish gangsters, and in fact, he might be better at it than ever. The Gentlemen season 1 is now streaming on Netflix.
28270	yago	0	27	https://www.adweek.com/brand-marketing/bmw-marketing-strategy-back-to-movie-making/	en	Why BMW's Marketing Strategy Is Going Back to Moviemaking	https://static-prod.adwe…2023-600x315.jpg	https://static-prod.adwe…2023-600x315.jpg	[ "https://static-prod.adweek.com/wp-content/uploads/2023/05/bmw-the-calm-still-2023-652x367.jpg", "https://static-prod.adweek.com/wp-content/uploads/2022/06/Stephen_Lepitak-2022-320x320.jpg", "https://www.adweek.com/wp-content/uploads/2024/06/aw-plus.png" ]	[ "https://cdn.jwplayer.com/videos/5ok2LThU-Nf31xtCb.mp4" ]	[]	[ "" ]	null	[ "Stephen Lepitak" ]	2023-05-11T13:39:00-04:00	Stefan Ponikva, vp and president of brand communication and brand experience, discusses the company's engagement plan.	en	https://static-prod.adwe…20/08/246x0w.png		https://www.adweek.com/brand-marketing/bmw-marketing-strategy-back-to-movie-making/	This return is set alongside the release of a short film featuring Uma Thurman, Pom Klementieff and a BMW i7 M70. The film will be screened at the Cannes Film Festival later this month. Success for BMW Films began in 2001 with an award-winning short film series called The Hire, starring Clive Owen and overseen by filmmaker David Fincher’s production company. The James Bond-inspired shorts produced eight entries at less than 10 minutes each that were fundamentally excuses to showcase BMWs in car chases.
28270	yago	3	7	https://en.wikipedia.org/wiki/B_movie	en	Wikipedia	https://upload.wikimedia…heLivingDead.jpg	https://upload.wikimedia…heLivingDead.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/56/Zombies_NightoftheLivingDead.jpg/150px-Zombies_NightoftheLivingDead.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bd/RavenPoster.jpg/250px-RavenPoster.jpg", "https://upload.wikimedia.org/wikipedia/commons/9/97/ThatCertainThing.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/f9/PalsOfSaddlePoster.jpg/170px-PalsOfSaddlePoster.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/0/04/RawDealPoster2.jpg/170px-RawDealPoster2.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/8/86/RocketshipXM2.jpg/285px-RocketshipXM2.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/7/76/MotorpsychoPoster.jpg/250px-MotorpsychoPoster.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/4f/Barbara_Loden%27s_Wanda_%281970_US_poster%29.jpeg/170px-Barbara_Loden%27s_Wanda_%281970_US_poster%29.jpeg", "https://upload.wikimedia.org/wikipedia/commons/thumb/5/53/Ambox_current_red_Americas.svg/42px-Ambox_current_red_Americas.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/b/bf/Plan_9_Alternative_poster.jpg/200px-Plan_9_Alternative_poster.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/9/99/Wiktionary-logo-en-v2.svg/40px-Wiktionary-logo-en-v2.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/16px-Symbol_category_class.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/e/e2/Symbol_portal_class.svg/16px-Symbol_portal_class.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/16px-Symbol_category_class.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2002-10-15T21:03:32+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/B_movie	Low-budget commercial film genre This article is about the film type. For other uses, see B movie (disambiguation). Not to be confused with Bee Movie. A B movie (American English), or B film (British English), is a type of low-budget commercial motion picture. Originally, during the Golden Age of Hollywood, this term specifically referred to films meant to be shown as the lesser-known second half of a double feature, somewhat similar to B-sides in recorded music. However, the production of such films as "second features" in the United States largely declined by the end of the 1950s. This shift was due to the rise of commercial television, which prompted film studio B movie production departments to transition into television film production divisions. These divisions continued to create content similar to B movies, albeit in the form of low-budget films and series. Today, the term "B movie" is used in a broader sense. In post-Golden Age usage, B movies can encompass a wide spectrum of films, ranging from sensationalistic exploitation films to independent arthouse productions. In either usage, most B movies represent a particular genre; the Western was a Golden Age B movie staple, while low-budget science-fiction and horror films became more popular in the 1950s. Early B movies were often part of series in which the star repeatedly played the same character. Almost always shorter than the top-billed feature films,[1] many had running times of 70 minutes or less. The term connoted a general perception that B movies were inferior to the more lavishly budgeted headliners; individual B films were often ignored by critics. Latter-day B movies still sometimes inspire multiple sequels, but series are less common. As the average running time of top-of-the-line films increased, so did that of B pictures. In its current usage, the term has somewhat contradictory connotations: it may signal an opinion that a certain movie is (a) a "genre film" with minimal artistic ambitions or (b) a lively, energetic film uninhibited by the constraints imposed on more expensive projects and unburdened by the conventions of putatively serious independent film. The term is also now used loosely to refer to some higher-budget, mainstream films with exploitation-style content, usually in genres traditionally associated with the B movie. From their beginnings to the present day, B movies have provided opportunities both for those coming up in the profession and others whose careers are waning. Celebrated filmmakers such as Anthony Mann and Jonathan Demme learned their craft in B movies. They are where actors such as John Wayne and Jack Nicholson first became established, and they have provided work for former A movie actors and actresses, such as Vincent Price and Karen Black. Some actors and actresses, such as Bela Lugosi, Eddie Constantine, Bruce Campbell, and Pam Grier, worked in B movies for most of their careers.[citation needed] The terms "B actor and actress" are sometimes used to refer to performers who find work primarily or exclusively in B pictures. History [edit] In 1927–28, at the end of the silent era, the production cost of an average feature from a major Hollywood studio ranged from $190,000 at Fox to $275,000 at Metro-Goldwyn-Mayer. That average reflected both "specials" that might cost as much as $1 million and films made quickly for around $50,000. These cheaper films (not yet called B movies) allowed the studios to derive maximum value from facilities and contracted staff in between a studio's more important productions, while also breaking in new personnel.[3] Studios in the minor leagues of the industry, such as Columbia Pictures and Film Booking Offices of America (FBO), focused on exactly those sorts of cheap productions. Their movies, with relatively short running times, targeted theaters that had to economize on rental and operating costs, particularly small-town and urban neighborhood venues, or "nabes". Even smaller production houses, known as Poverty Row studios, made films whose costs might run as low as $3,000, seeking a profit through whatever bookings they could pick up in the gaps left by the larger concerns.[4] With the widespread arrival of sound film in American theaters in 1929, many independent exhibitors began dropping the then-dominant presentation model, which involved live acts and a broad variety of shorts before a single featured film. A new programming scheme developed that soon became standard practice: a newsreel, a short and/or serial, and a cartoon, followed by a double feature. The second feature, which actually screened before the main event, cost the exhibitor less per minute than the equivalent running time in shorts.[5] The majors' "clearance" rules favoring their affiliated theaters prevented timely access to top-quality films for independent theaters; the second feature allowed them to promote quantity instead.[5] The additional movie also gave the program "balance", the practice of pairing different sorts of features suggested to potential customers that they could count on something of interest no matter what specifically was on the bill. The low-budget picture of the 1920s thus evolved into the second feature, the B movie, of Hollywood's Golden Age.[6] Golden Age of Hollywood [edit] For British B movies, see Quota quickies. 1930s [edit] The major studios, at first resistant to the double feature, soon adapted; all established B units to provide films for the expanding second-feature market. Block booking became standard practice: to get access to a studio's attractive A pictures, many theaters were obliged to rent the company's entire output for a season. With the B films rented at a flat fee (rather than the box office percentage basis of A films), rates could be set virtually guaranteeing the profitability of every B movie. The parallel practice of blind bidding largely freed the majors from worrying about their Bs' quality; even when booking in less than seasonal blocks, exhibitors had to buy most pictures sight unseen. The five largest studios: Metro-Goldwyn-Mayer, Paramount Pictures, Fox Film Corporation (20th Century Fox as of 1935), Warner Bros., and RKO Radio Pictures (descendant of FBO), also belonged to companies with sizable theater chains, further securing the bottom line.[7] Poverty Row studios, from modest outfits like Mascot Pictures, Tiffany Pictures, and Sono Art-World Wide Pictures down to shoestring operations, made exclusively B movies, serials, and other shorts, and also distributed totally independent productions and imported films. In no position to directly block book, they mostly sold regional distribution exclusivity to "states rights" firms, which in turn peddled blocks of movies to exhibitors, typically six or more pictures featuring the same star (a relative status on Poverty Row).[8] Two "major-minors", Universal Studios and rising Columbia Pictures had production lines roughly similar to, though somewhat better endowed than, the top Poverty Row studios. In contrast to the Big Five majors, Universal and Columbia had few or no theaters, though they did have top-rank film distribution exchanges.[9] In the standard Golden Age model, the industry's top product, the A films, premiered at a small number of select first-run houses in major cities. Double features were not the rule at these prestigious venues. As described by Edward Jay Epstein, "During these first runs, films got their reviews, garnered publicity, and generated the word of mouth that served as the principal form of advertising."[10] Then it was off to the subsequent-run market where the double feature prevailed. At the larger local venues controlled by the majors, movies might turn over on a weekly basis. At the thousands of smaller, independent theaters, programs often changed two or three times a week. To meet the constant demand for new B product, the low end of Poverty Row turned out a stream of micro-budget movies rarely much more than sixty minutes long; these were known as "quickies" for their tight production schedules—as short as four days.[11] As Azam Patel describes, "Many of the poorest theaters, such as the 'grind houses' in the larger cities, screened a continuous program emphasizing action with no specific schedule, sometimes offering six quickies for a nickel in an all-night show that changed daily."[12] Many small theaters never saw a big-studio A film, getting their movies from the states rights concerns that handled almost exclusively Poverty Row product. Millions of Americans went to their local theaters as a matter of course: for an A picture, along with the trailers, or screen previews, that presaged its arrival, "[t]he new film's title on the marquee and the listings for it in the local newspaper constituted all the advertising most movies got", writes Epstein.[13] Aside from at the theater itself, B films might not be advertised at all. The introduction of sound had driven costs higher: by 1930, the average U.S. feature film cost $375,000 to produce.[14] A broad range of motion pictures occupied the B category. The leading studios made not only clear-cut A and B films, but also movies classifiable as "programmers" (also known as "in-betweeners" or "intermediates"). As Taves describes, "Depending on the prestige of the theater and the other material on the double bill, a programmer could show up at the top or bottom of the marquee."[15] On Poverty Row, many Bs were made on budgets that would have barely covered petty cash on a major's A film, with costs at the bottom of the industry running as low as $5,000.[11] By the mid-1930s, the double feature was the dominant U.S. exhibition model, and the majors responded. In 1935, B movie production at Warner Bros. was raised from 12 to 50% of studio output. The unit was headed by Bryan Foy, known as the "Keeper of the Bs".[16] At Fox, which also shifted half of its production line into B territory, Sol M. Wurtzel was similarly in charge of more than twenty movies a year during the late 1930s.[17] A number of the top Poverty Row firms consolidated: Sono Art joined another company to create Monogram Pictures early in the decade. In 1935, Monogram, Mascot, and several smaller studios merged to establish Republic Pictures. The former heads of Monogram soon sold off their Republic shares and set up a new Monogram production house.[18] Into the 1950s, most Republic and Monogram product was roughly on par with the low end of the majors' output. Less sturdy Poverty Row concerns, with a penchant for grand sobriquets like Conquest, Empire, Imperial, and Peerless, continued to churn out dirt-cheap quickies.[19] Joel Finler has analyzed the average length of feature releases in 1938, indicating the studios' relative emphasis on B production[20] (United Artists produced little, focusing on the distribution of prestigious films from independent outfits; Grand National, active 1936–40, occupied an analogous niche on Poverty Row, releasing mostly independent productions[21]): Studio Category Avg. duration MGM Big Five 87.9 minutes Paramount Big Five 76.4 minutes 20th Century Fox Big Five 75.3 minutes Warner Bros. Big Five 75.0 minutes RKO Big Five 74.1 minutes United Artists Little Three 87.6 minutes Columbia Little Three 66.4 minutes Universal Little Three 66.4 minutes Grand National Poverty Row 63.6 minutes Republic Poverty Row 63.1 minutes Monogram Poverty Row 60.0 minutes Taves estimates that half of the films produced by the eight majors in the 1930s were B movies. Calculating in the three hundred or so films made annually by the many Poverty Row firms, approximately 75% of Hollywood movies from the decade, more than four thousand pictures, are classifiable as Bs.[22] The Western was by far the predominant B genre in both the 1930s and, to a lesser degree, the 1940s.[23] Film historian Jon Tuska has argued that "the 'B' product of the Thirties—the Universal films with [Tom] Mix, [Ken] Maynard, and [Buck] Jones, the Columbia features with Buck Jones and Tim McCoy, the RKO George O'Brien series, the Republic Westerns with John Wayne and the Three Mesquiteers achieved a uniquely American perfection of the well-made story."[24] At the far end of the industry, Poverty Row's Ajax put out oaters starring Harry Carey, then in his fifties. The Weiss outfit had the Range Rider series, the American Rough Rider series, and the Morton of the Mounted "northwest action thrillers".[25] One low-budget oater of the era, made totally outside the studio system, profited from an outrageous concept: a Western with a cast consisting of only little people, The Terror of Tiny Town (1938) was such a success in its independent bookings that Columbia picked it up for distribution.[26] Series of various genres, featuring recurrent, title-worthy characters or name actors in familiar roles, were particularly popular during the first decade of sound film. Fox's many B series, for instance, included Charlie Chan mysteries, Ritz Brothers comedies, and musicals with child star Jane Withers.[27] These series films are not to be confused with the short, cliffhanger-structured serials that sometimes appeared on the same program. As with serials, however, many series were intended to attract young people—a theater that twin-billed part-time might run a "balanced" or entirely youth-oriented double feature as a matinee and then a single film for a more mature audience at night. In the words of one industry report, afternoon moviegoers, "composed largely of housewives and children, want quantity for their money while the evening crowds want 'something good and not too much of it.'"[28] Series films are often unquestioningly consigned to the B movie category, but even here there is ambiguity: at MGM, for example, popular series like the Andy Hardy and the Dr. Kildare–Dr. Gillespie chronicles had leading stars and budgets that would have been A-level at most of the lesser studios.[29] For many series, even a lesser major's standard B budget was far out of reach: Poverty Row's Consolidated Pictures featured Tarzan, the Police Dog in a series with the proud name of Melodramatic Dog Features.[30] 1940s [edit] By 1940, the average production cost of an American feature was $400,000, a negligible increase over ten years.[14] A number of small Hollywood companies had folded around the turn of the decade, including the ambitious Grand National, but a new firm, Producers Releasing Corporation (PRC), emerged as third in the Poverty Row hierarchy behind Republic and Monogram. The double feature, never universal, was still the prevailing exhibition model: in 1941, fifty percent of theaters were double-billing exclusively, and others employed the policy part-time.[31] In the early 1940s, legal pressure forced the studios to replace seasonal block booking with packages generally limited to five pictures. Restrictions were also placed on the majors' ability to enforce blind bidding.[32] These were crucial factors in the progressive shift by most of the Big Five over to A-film production, making the smaller studios even more important as B movie suppliers. Genre pictures made at very low cost remained the backbone of Poverty Row, with even Republic's and Monogram's budgets rarely climbing over $200,000. Many smaller Poverty Row firms folded as the eight majors, with their proprietary distribution exchanges, now commanded about 95% of U.S. and Canadian box office receipts.[33] In 1946, independent producer David O. Selznick brought his bloated-budget spectacle Duel in the Sun to market with heavy nationwide promotion and wide release. The distribution strategy was a major success, despite what was widely perceived as the movie's poor quality.[34] The Duel release anticipated practices that fueled the B movie industry in the late 1950s; when the top Hollywood studios made them standard two decades after that, the B movie was hard hit.[35] Considerations beside cost made the line between A and B movies ambiguous. Films shot on B-level budgets were occasionally marketed as A pictures or emerged as sleeper hits: one of 1943's biggest films was Hitler's Children, an RKO thriller made for a fraction over $200,000. It earned more than $3 million in rentals, industry language for a distributor's share of gross box office receipts.[36] Particularly in the realm of film noir, A pictures sometimes echoed visual styles generally associated with cheaper films. Programmers, with their flexible exhibition role, were ambiguous by definition. As late as 1948, the double feature remained a popular exhibition mode. It was standard policy at 25% of theaters and used part-time at an additional 36%.[37] The leading Poverty Row firms began to broaden their scope; in 1947, Monogram established a subsidiary, Allied Artists, to develop and distribute relatively expensive films, mostly from independent producers. Around the same time, Republic launched a similar effort under the "Premiere" rubric.[38] In 1947 as well, PRC was subsumed by Eagle-Lion, a British company seeking entry to the American market. Warners' former "Keeper of the Bs", Brian Foy, was installed as production chief.[39] In the 1940s, RKO stood out among the industry's Big Five for its focus on B pictures.[41] From a latter-day perspective, the most famous of the major studios' Golden Age B units is Val Lewton's horror unit at RKO. Lewton produced such moody, mysterious films as Cat People (1942), I Walked with a Zombie (1943), and The Body Snatcher (1945), directed by Jacques Tourneur, Robert Wise, and others who became renowned only later in their careers or entirely in retrospect.[42] The movie now widely described as the first classic film noir, Stranger on the Third Floor (1940), a 64-minute B, was produced at RKO, which released many additional melodramatic thrillers in a similarly stylish vein.[43] The other major studios also turned out a considerable number of movies now identified as noir during the 1940s. Though many of the best-known film noirs were A-level productions, most 1940s pictures in the mode were either of the ambiguous programmer type or destined straight for the bottom of the bill. In the decades since, these cheap entertainments, generally dismissed at the time, have become some of the most treasured products of Hollywood's Golden Age.[44] In one sample year, 1947, RKO produced along with several noir programmers and A pictures, two straight B noirs: Desperate and The Devil Thumbs a Ride.[45] Ten B noirs that year came from Poverty Row's big three: Republic, Monogram, and PRC/Eagle-Lion, and one came from tiny Screen Guild. Three majors beside RKO contributed a total of five more. Along with these eighteen unambiguous B noirs, an additional dozen or so noir programmers came out of Hollywood.[46] Still, most of the majors' low-budget production remained the sort now largely ignored. RKO's representative output included the Mexican Spitfire and Lum and Abner comedy series, thrillers featuring the Saint and the Falcon, Westerns starring Tim Holt, and Tarzan movies with Johnny Weissmuller. Jean Hersholt played Dr. Christian in six films between 1939 and 1941.[47] The Courageous Dr. Christian (1940) was a standard entry: "In the course of an hour or so of screen time, the saintly physician managed to cure an epidemic of spinal meningitis, demonstrate benevolence towards the disenfranchised, set an example for wayward youth, and calm the passions of an amorous old maid."[48] Down in Poverty Row, low budgets led to less palliative fare. Republic aspired to major-league respectability while making many cheap and modestly budgeted Westerns, but there was not much from the bigger studios that compared with Monogram "exploitation pictures" like juvenile delinquency exposé Where Are Your Children? (1943) and the prison film Women in Bondage (1943).[49] In 1947, PRC's The Devil on Wheels brought together teenagers, hot rods, and death. The little studio had its own house auteur: with his own crew and relatively free rein, director Edgar G. Ulmer was known as "the Capra of PRC".[50] Ulmer made films of every generic stripe: his Girls in Chains was released in May 1943, six months before Women in Bondage; by the end of the year, Ulmer had also made the teen-themed musical Jive Junction as well as Isle of Forgotten Sins, a South Seas adventure set around a brothel.[51] Transition in the 1950s [edit] In 1948, a Supreme Court ruling in a federal antitrust suit against the majors outlawed block booking and led to the Big Five divesting their theater chains. With audiences draining away to television and studios scaling back production schedules, the classic double feature vanished from many American theaters during the 1950s. The major studios promoted the benefits of recycling, offering former headlining movies as second features in the place of traditional B films.[52] With television airing many classic Westerns as well as producing its own original Western series, the cinematic market for B oaters in particular was drying up. After barely inching forward in the 1930s, the average U.S. feature production cost had essentially doubled over the 1940s, reaching $1 million by the turn of the decade—a 93% rise after adjusting for inflation.[14] The first prominent victim of the changing market was Eagle-Lion, which released its last films in 1951. By 1953, the old Monogram brand had disappeared, the company having adopted the identity of its higher-end subsidiary, Allied Artists. The following year, Allied released Hollywood's last B series Westerns. Non-series B Westerns continued to appear for a few more years, but Republic Pictures, long associated with cheap sagebrush sagas, was out of the filmmaking business by decade's end. In other genres, Universal kept its Ma and Pa Kettle series going through 1957, while Allied Artists stuck with the Bowery Boys until 1958.[53] RKO, weakened by years of mismanagement, exited the movie industry in 1957.[54] Hollywood's A product was getting longer, the top ten box-office releases of 1940 had averaged 112.5 minutes; the average length of 1955's top ten was 123.4.[55] In their modest way, the Bs were following suit. The age of the hour-long feature film was past; 70 minutes was now roughly the minimum. While the Golden Age-style second feature was dying, B movie was still used to refer to any low-budget genre film featuring relatively unheralded performers (sometimes referred to as B actors). The term retained its earlier suggestion that such movies relied on formulaic plots, "stock" character types, and simplistic action or unsophisticated comedy.[56] At the same time, the realm of the B movie was becoming increasingly fertile territory for experimentation, both serious and outlandish. Ida Lupino, a leading actress, established herself as Hollywood's sole female director of the era.[57] In short, low-budget pictures made for her production company, The Filmakers, Lupino explored taboo subjects such as rape in 1950's Outrage and 1953's self-explanatory The Bigamist.[58] Her best known directorial effort, The Hitch-Hiker, a 1953 RKO release, is the only film noir from the genre's classic period directed by a woman.[59] That year, RKO released Split Second, which concludes in a nuclear test range, and is perhaps the first "atomic noir".[60] The most famous such movie, the independently produced Kiss Me Deadly (1955), typifies the persistently murky middle ground between the A and B picture, as Richard Maltby describes: a "programmer capable of occupying either half of a neighbourhood theatre's double-bill, [it was] budgeted at approximately $400,000. [Its] distributor, United Artists, released around twenty-five programmers with production budgets between $100,000 and $400,000 in 1955."[61] The film's length, 106 minutes, is A level, but its star, Ralph Meeker, had previously appeared in only one major film. Its source is pure pulp, one of Mickey Spillane's Mike Hammer novels, but Robert Aldrich's direction is self-consciously aestheticized. The result is a brutal genre picture that also evokes contemporary anxieties about what was often spoken of simply as the Bomb.[62] The fear of nuclear war with the Soviet Union, along with less expressible qualms about radioactive fallout from America's own atomic tests, energized many of the era's genre films. Science fiction, horror, and various hybrids of the two were now of central economic importance to the low-budget end of the business. Most down-market films of the type—like many of those produced by William Alland at Universal (such as Creature from the Black Lagoon (1954)) and Sam Katzman at Columbia (including It Came from Beneath the Sea (1955))—provided little more than thrills, though their special effects could be impressive.[64] But these were genres whose fantastic nature could also be used as cover for mordant cultural observations often difficult to make in mainstream movies. Director Don Siegel's Invasion of the Body Snatchers (1956), released by Allied Artists, treats conformist pressures and the evil of banality in haunting, allegorical fashion.[65] The Amazing Colossal Man (1957), directed by Bert I. Gordon, is both a monster movie that happens to depict the horrific effects of radiation exposure and "a ferocious cold-war fable [that] spins Korea, the army's obsessive secrecy, and America's post-war growth into one fantastic whole".[66] The Amazing Colossal Man was released by a new company whose name was much bigger than its budgets. American International Pictures (AIP), founded in 1956 by James H. Nicholson and Samuel Z. Arkoff in a reorganization of their American Releasing Corporation (ARC), soon became the leading U.S. studio devoted entirely to B-cost productions.[67] American International helped keep the original-release double bill alive through paired packages of its films: these movies were low-budget, but instead of a flat rate, they were rented out on a percentage basis, like A films.[68] The success of I Was a Teenage Werewolf (1957) thus brought AIP a large return, made for about $100,000, it grossed more than $2 million.[69] As the film's title suggests, the studio relied on both fantastic genre subjects and new, teen-oriented angles. When Hot Rod Gang (1958) turned a profit, hot rod horror was given a try: Ghost of Dragstrip Hollow (1959). David Cook credits AIP with leading the way "in demographic exploitation, target marketing, and saturation booking, all of which became standard procedure for the majors in planning and releasing their mass-market 'event' films" by the late 1970s.[70] In terms of content, the majors were already there, with films about juvenile delinquency such as Warner Bros.' Untamed Youth (1957) and MGM's High School Confidential (1958), both starring Mamie Van Doren.[71] In 1954, a young filmmaker named Roger Corman received his first screen credits as writer and associate producer of Allied Artists' Highway Dragnet. Corman soon independently produced his first movie, Monster from the Ocean Floor, on a $12,000 budget and a six-day shooting schedule.[72] Among the six films he worked on in 1955, Corman produced and directed the first official ARC release, Apache Woman, and Day the World Ended, half of Arkoff and Nicholson's first twin-bill package. Corman directed over fifty feature films through 1990. As of 2007, he remained active as a producer, with more than 350 movies to his credit. Often referred to as the "King of the Bs", Corman has said that "to my way of thinking, I never made a 'B' movie in my life", as the traditional B movie was dying out when he began making pictures. He prefers to describe his metier as "low-budget exploitation films".[73] In later years Corman, both with AIP and as head of his own companies, helped launch the careers of Francis Ford Coppola, Jonathan Demme, Robert Towne, and Robert De Niro, among many others.[74] In the late 1950s, William Castle became known as the great innovator of the B movie publicity gimmick. Audiences of Macabre (1958), an $86,000 production distributed by Allied Artists, were invited to take out insurance policies to cover potential death from fright. The 1959 creature feature The Tingler featured Castle's most famous gimmick, Percepto: at the film's climax, buzzers attached to select theater seats unexpectedly rattled a few audience members, prompting either appropriate screams or even more appropriate laughter.[75] With such films, Castle "combine[d] the saturation advertising campaign perfected by Columbia and Universal in their Sam Katzman and William Alland packages with centralized and standardized publicity stunts and gimmicks that had previously been the purview of the local exhibitor".[76] The postwar drive-in theater boom was vital to the expanding independent B movie industry. In January 1945, there were 96 drive-ins in the United States; a decade later, there were more than 3,700.[77] Unpretentious pictures with simple, familiar plots and reliable shock effects were ideally suited for auto-based film viewing, with all its attendant distractions. The phenomenon of the drive-in movie became one of the defining symbols of American popular culture in the 1950s. At the same time, many local television stations began showing B genre films in late-night slots, popularizing the notion of the midnight movie.[78] Increasingly, American-made genre films were joined by foreign movies acquired at low cost and, where necessary, dubbed for the U.S. market. In 1956, distributor Joseph E. Levine financed the shooting of new footage with American actor Raymond Burr that was edited into the Japanese sci-fi horror film Godzilla.[79] The British Hammer Film Productions made the successful The Curse of Frankenstein (1957) and Dracula (1958), major influences on future horror film style. In 1959, Levine's Embassy Pictures bought the worldwide rights to Hercules, a cheaply made Italian movie starring American-born bodybuilder Steve Reeves. On top of a $125,000 purchase price, Levine then spent $1.5 million on advertising and publicity, a virtually unprecedented amount.[80] The New York Times was not impressed, claiming that the movie would have drawn "little more than yawns in the film market ... had it not been [launched] throughout the country with a deafening barrage of publicity".[81] Levine counted on first-weekend box office for his profits, booking the film "into as many cinemas as he could for a week's run, then withdrawing it before poor word-of-mouth withdrew it for him".[82] Hercules opened at a remarkable 600 theaters, and the strategy was a smashing success: the film earned $4.7 million in domestic rentals. Just as valuable to the bottom line, it was even more successful overseas.[80] Within a few decades, Hollywood was dominated by both movies and an exploitation philosophy very much like Levine's. Also playing rounds during this time was K. Gordon Murray, known for distributing international matinee fare like the 1959 Mexican kids' movie Santa Claus.[83] Golden age of exploitation [edit] 1960s [edit] Main articles: B movies (exploitation boom) and Midnight movie Despite all the transformations in the industry, by 1961 the average production cost of an American feature film was still only $2 million—after adjusting for inflation, less than 10% more than it had been in 1950.[14] The traditional twin bill of B film preceding and balancing a subsequent-run A film had largely disappeared from American theaters. The AIP-style dual genre package was the new model. In July 1960, the latest Joseph E. Levine sword-and-sandals import, Hercules Unchained, opened at neighborhood theaters in New York. A suspense film, Terror Is a Man, ran as a "co-feature" with a now familiar sort of exploitation gimmick: "The dénouement helpfully includes a 'warning bell' so the sensitive can 'close their eyes.'"[84] That year, Roger Corman took AIP down a new road: "When they asked me to make two ten-day black-and-white horror films to play as a double feature, I convinced them instead to finance one horror film in color."[85] The resulting House of Usher typifies the continuing ambiguities of B picture classification. It was clearly an A film by the standards of both director and studio, with the longest shooting schedule and biggest budget Corman had ever enjoyed. But it is generally seen as a B movie: the schedule was still a mere fifteen days, the budget just $200,000 (one tenth the industry average),[86] and its 85-minute running time close to an old thumbnail definition of the B: "Any movie that runs less than 80 minutes."[87] With the loosening of industry censorship constraints, the 1960s saw a major expansion in the commercial viability of a variety of B movie subgenres that became known collectively as exploitation films. The combination of intensive and gimmick-laden publicity with movies featuring vulgar subject matter and often outrageous imagery dated back decades. The term had originally defined truly fringe productions, made at the lowest depths of Poverty Row or entirely outside the Hollywood system. Many graphically depicted the wages of sin in the context of promoting prudent lifestyle choices, particularly "sexual hygiene". Audiences might see explicit footage of anything from a live birth to a ritual circumcision.[88] Such films were not generally booked as part of movie theaters' regular schedules but rather presented as special events by traveling roadshow promoters (they might also appear as fodder for "grindhouses", which typically had no regular schedule at all). The most famous of those promoters, Kroger Babb, was in the vanguard of marketing low-budget, sensationalistic films with a "100% saturation campaign", inundating the target audience with ads in almost any imaginable medium.[89] In the era of the traditional double feature, no one would have characterized these graphic exploitation films as "B movies". With the majors having exited traditional B production and exploitation-style promotion becoming standard practice at the lower end of the industry, "exploitation" became a way to refer to the entire field of low-budget genre films.[90] The 1960s saw exploitation-style themes and imagery become increasingly central to the realm of the B. Exploitation movies in the original sense continued to appear: 1961's Damaged Goods, a cautionary tale about a young lady whose boyfriend's promiscuity leads to venereal disease, comes complete with enormous, grotesque closeups of VD's physical effects.[91] At the same time, the concept of fringe exploitation was merging with a related, similarly venerable tradition: "nudie" films featuring nudist-camp footage or striptease artists like Bettie Page had simply been the softcore pornography of previous decades. As far back as 1933, This Nude World was "Guaranteed the Most Educational Film Ever Produced!"[92] In the late 1950s, as more of the old grindhouse theaters devoted themselves specifically to "adult" product, a few filmmakers began making nudies with greater attention to plot. Best known was Russ Meyer, who released his first successful narrative nudie, the comic Immoral Mr. Teas, in 1959. Five years later, Meyer came out with his breakthrough film, Lorna, which combined sex, violence, and a dramatic storyline.[93] Faster, Pussycat! Kill! Kill! (1965), made for about $45,000, ultimately became the most famous of Meyer's sexploitation pictures. Crafted for constant titillation but containing no nudity, it was aimed at the same "passion pit" drive-in circuit that screened AIP teen movies with wink-wink titles like Beach Blanket Bingo (1965) and How to Stuff a Wild Bikini (1966), starring Annette Funicello and Frankie Avalon.[94] Roger Corman's The Trip (1967) for American International, written by veteran AIP/Corman actor Jack Nicholson, never shows a fully bared, unpainted breast, but flirts with nudity throughout.[95] The Meyer and Corman lines were drawing closer. One of the most influential films of the era, on Bs and beyond, was Paramount's Psycho. Its $8.5 million in earnings against a production cost of $800,000 made it the most profitable movie of 1960.[96] Its mainstream distribution without the Production Code seal of approval helped weaken U.S. film censorship. And, as William Paul notes, this move into the horror genre by respected director Alfred Hitchcock was made, "significantly, with the lowest-budgeted film of his American career and the least glamorous stars. [Its] greatest initial impact ... was on schlock horror movies (notably those from second-tier director William Castle), each of which tried to bill itself as scarier than Psycho."[97] Castle's first film in the Psycho vein was Homicidal (1961), an early step in the development of the slasher subgenre that took off in the late 1970s.[96] Blood Feast (1963), a movie about human dismemberment and culinary preparation made for approximately $24,000 by experienced nudie-maker Herschell Gordon Lewis, established a new, more immediately successful subgenre, the gore or splatter film. Lewis's business partner David F. Friedman drummed up publicity by distributing vomit bags to theatergoers, the sort of gimmick Castle had mastered, and arranging for an injunction against the film in Sarasota, Florida, the sort of problem exploitation films had long run up against, except Friedman had planned it.[98] This new breed of gross-out movie typified the emerging sense of "exploitation", the progressive adoption of traditional exploitation and nudie elements into horror, into other classic B genres, and into the low-budget film industry as a whole. Imports of Hammer Film's increasingly explicit horror movies and Italian gialli, highly stylized pictures mixing sexploitation and ultraviolence, fueled this trend.[99] The Production Code was officially scrapped in 1968, to be replaced by the first version of the modern rating system.[100] That year, two horror films came out that heralded directions American cinema would take in the next decade, with major consequences for the B movie. One was a high-budget Paramount production, directed by the celebrated Roman Polanski. Produced by B horror veteran William Castle, Rosemary's Baby was the first upscale Hollywood picture in the genre in three decades.[101] It was a critical success and the year's seventh-biggest hit.[102] The other was George A. Romero's Night of the Living Dead, produced on weekends in and around Pittsburgh for $114,000. Building on the achievement of B genre predecessors like Invasion of the Body Snatchers in its subtextual exploration of social and political issues, it doubled as a highly effective thriller and an incisive allegory for both the Vietnam War and domestic racial conflicts. Its greatest influence, though, derived from its clever subversion of genre clichés and the connection made between its exploitation-style imagery, low-cost, truly independent means of production, and high profitability.[103] With the Code gone and the X rating established, major studio A films like Midnight Cowboy could now show "adult" imagery, while the market for increasingly hardcore pornography exploded. In this transformed commercial context, work like Russ Meyer's gained a new legitimacy. In 1969, for the first time a Meyer film, Finders Keepers, Lovers Weepers!, was reviewed in The New York Times.[104] Soon, Corman was creating nudity-filled sexploitation pictures such as Private Duty Nurses (1971) and Women in Cages (1971).[105] In May 1969, the most important exploitation movie of the era premiered at the Cannes Film Festival.[106] Much of Easy Rider's significance owes to the fact that it was produced for a respectable, if still modest, budget and released by a major studio. The project was first taken by one of its cocreators, Peter Fonda, to American International. Fonda had become AIP's top star in the Corman-directed The Wild Angels (1966), a biker movie, and The Trip, as in taking LSD. The idea Fonda pitched combined those two proven themes. AIP was intrigued but balked at giving his collaborator, Dennis Hopper, also a studio alumnus, free directorial rein. Eventually they arranged a financing and distribution deal with Columbia, as two more graduates of the Corman/AIP exploitation mill joined the project: Jack Nicholson and cinematographer László Kovács.[107] The film (which incorporated another favorite exploitation theme, the redneck menace, as well as a fair amount of nudity) was brought in at a cost of $501,000. It earned $19.1 million in rentals.[108] In the words of historians Seth Cagin and Philip Dray, Easy Rider became "the seminal film that provided the bridge between all the repressed tendencies represented by schlock/kitsch/hack since the dawn of Hollywood and the mainstream cinema of the seventies."[109] 1970s [edit] In the late 1960s and early 1970s, a new generation of low-budget film companies emerged that drew from all the different lines of exploitation as well as the sci-fi and teen themes that had been a mainstay since the 1950s. Operations such as Roger Corman's New World Pictures, Cannon Films, and New Line Cinema brought exploitation films to mainstream theaters around the country. The major studios' top product was continuing to inflate in running time—in 1970, the ten biggest earners averaged 140.1 minutes.[110] The Bs were keeping pace. In 1955, Corman had a producorial hand in five movies averaging 74.8 minutes. He played a similar part in five films originally released in 1970, two for AIP and three for his own New World: the average length was 89.8 minutes.[111] These films could turn a tidy profit. The first New World release, the biker movie Angels Die Hard, cost $117,000 to produce and took in more than $2 million at the box office.[112] The biggest studio in the low-budget field remained a leader in exploitation's growth. In 1973, American International gave a shot to young director Brian De Palma. Reviewing Sisters, Pauline Kael observed that its "limp technique doesn't seem to matter to the people who want their gratuitous gore. ... [H]e can't get two people talking in order to make a simple expository point without its sounding like the drabbest Republic picture of 1938."[113] Many examples of the blaxploitation genre, featuring stereotype-filled stories about African Americans and revolving around drugs, violent crime, and prostitution, were the product of AIP. One of blaxploitation's biggest stars was Pam Grier, who began her film career with a bit part in Russ Meyer's Beyond the Valley of the Dolls (1970). Several New World pictures followed, including The Big Doll House (1971) and The Big Bird Cage (1972), both directed by Jack Hill. Hill also directed Grier's best-known performances, in two AIP blaxploitation films: Coffy (1973) and Foxy Brown (1974).[114] Blaxploitation was the first exploitation genre in which the major studios were central. Indeed, the United Artists release Cotton Comes to Harlem (1970), directed by Ossie Davis, is seen as the first significant film of the type.[115] But the movie that truly ignited the blaxploitation phenomenon was completely independent: Sweet Sweetback's Baadasssss Song (1971) is also perhaps the most outrageous example of the form: wildly experimental, borderline pornographic, and essentially a manifesto for an African American revolution.[116] Melvin Van Peebles wrote, co-produced, directed, starred in, edited, and composed the music for the film, which was completed with a loan from Bill Cosby.[117] Its distributor was small Cinemation Industries, then best known for releasing dubbed versions of the Italian Mondo Cane "shockumentaries" and the Swedish skin flick Fanny Hill, as well as for its one in-house production, The Man from O.R.G.Y. (1970).[118] These sorts of films played in the "grindhouses" of the day—many of them not outright porno theaters, but rather venues for all manner of exploitation cinema. The days of six quickies for a nickel were gone, but a continuity of spirit was evident.[119] In 1970, a low-budget crime drama shot in 16 mm by first-time American director Barbara Loden won the international critics' prize at the Venice Film Festival.[120] Wanda is both a seminal event in the independent film movement and a classic B picture. The crime-based plot and often seedy settings would have suited a straightforward exploitation film or an old-school B noir. The $115,000 production,[120] for which Loden spent six years raising money, was praised by Vincent Canby for "the absolute accuracy of its effects, the decency of its point of view and ... purity of technique".[121] Like Romero and Van Peebles, other filmmakers of the era made pictures that combined the gut-level entertainment of exploitation with biting social commentary. The first three features directed by Larry Cohen, Bone (1972), Black Caesar (1973), and Hell Up in Harlem (1973), were all nominally blaxploitation movies, but Cohen used them as vehicles for a satirical examination of race relations and the wages of dog-eat-dog capitalism.[122] The gory horror film Deathdream (1974), directed by Bob Clark, is also an agonized protest of the war in Vietnam.[123] Canadian filmmaker David Cronenberg made serious-minded low-budget horror films whose implications are not so much ideological as psychological and existential: Shivers (1975), Rabid (1977), The Brood (1979).[124] An Easy Rider with conceptual rigor, the movie that most clearly presaged the way in which exploitation content and artistic treatment would be combined in modestly budgeted films of later years was United Artists' biker-themed Electra Glide in Blue (1973), directed by James William Guercio.[125] The New York Times reviewer thought little of it: "Under different intentions, it might have made a decent grade-C Roger Corman bike movie—though Corman has generally used more interesting directors than Guercio."[126] In the early 1970s, the growing practice of screening nonmainstream motion pictures as late shows, with the goal of building a cult film audience, brought the midnight movie concept home to the cinema, now in a countercultural setting—something like a drive-in movie for the hip.[127] One of the first films adopted by the new circuit in 1971 was the three-year-old Night of the Living Dead. The midnight movie success of low-budget pictures made entirely outside the studio system, like John Waters' Pink Flamingos (1972), with its campy spin on exploitation, spurred the development of the independent film movement.[128] The Rocky Horror Picture Show (1975), an inexpensive film from 20th Century Fox that spoofed all manner of classic B picture clichés, became an unparalleled hit when it was relaunched as a late show feature the year after its initial, unprofitable release. Even as Rocky Horror generated its own subcultural phenomenon, it contributed to the mainstreaming of the theatrical midnight movie.[129] Asian martial arts films began appearing as imports regularly during the 1970s. These "kung fu" films as they were often called, whatever martial art they featured, were popularized in the United States by the Hong Kong–produced movies of Bruce Lee and marketed to the same audience targeted by AIP and New World.[130] Horror continued to attract young, independent American directors. As Roger Ebert explained in one 1974 review, "Horror and exploitation films almost always turn a profit if they're brought in at the right price. So they provide a good starting place for ambitious would-be filmmakers who can't get more conventional projects off the ground."[131] The movie under consideration was The Texas Chain Saw Massacre. Made by Tobe Hooper for less than $300,000, it became one of the most influential horror films of the 1970s.[132] John Carpenter's Halloween (1978), produced on a $320,000 budget, grossed over $80 million worldwide and effectively established the slasher flick as horror's primary mode for the next decade. Just as Hooper had learned from Romero's work, Halloween, in turn, largely followed the model of Black Christmas (1974), directed by Deathdream's Bob Clark.[133] On television, the parallels between the weekly series that became the mainstay of prime-time programming and the Hollywood series films of an earlier day had long been clear.[134] In the 1970s, original feature-length programming increasingly began to echo the B movie as well. As production of TV movies expanded with the introduction of the ABC Movie of the Week in 1969, soon followed by the dedication of other network slots to original features, time and financial factors shifted the medium progressively into B picture territory. Television films inspired by recent scandals—such as The Ordeal of Patty Hearst, which premiered a month after her release from prison in 1979—harkened all the way back to the 1920s and such movies as Human Wreckage and When Love Grows Cold, FBO pictures made swiftly in the wake of celebrity misfortunes.[135] Many 1970s TV films—such as The California Kid (1974), starring Martin Sheen—were action-oriented genre pictures of a type familiar from contemporary cinematic B production. Nightmare in Badham County (1976) headed straight into the realm of road-tripping-girls-in-redneck-bondage exploitation.[136] The reverberations of Easy Rider could be felt in such pictures, as well as in a host of theatrical exploitation films. But its greatest influence on the fate of the B movie was less direct—by 1973, the major studios were catching on to the commercial potential of genres once largely consigned to the bargain basement. Rosemary's Baby had been a big hit, but it had little in common with the exploitation style. Warner Bros.' The Exorcist demonstrated that a heavily promoted horror film could be an absolute blockbuster: it was the biggest movie of the year and by far the highest-earning horror movie yet made. In William Paul's description, it is also "the film that really established gross-out as a mode of expression for mainstream cinema. ... [P]ast exploitation films managed to exploit their cruelties by virtue of their marginality. The Exorcist made cruelty respectable. By the end of the decade, the exploitation booking strategy of opening films simultaneously in hundreds to thousands of theaters became standard industry practice."[137] Writer-director George Lucas's American Graffiti, a Universal production, did something similar. Described by Paul as "essentially an American-International teenybopper pic with a lot more spit and polish", it was 1973's third-biggest film and, likewise, by far the highest-earning teen-themed movie yet made.[138] Even more historically significant movies with B themes and A-level financial backing followed in their wake. Decline [edit] 1980s [edit] Most of the B-movie production houses founded during the exploitation era collapsed or were subsumed by larger companies as the field's financial situation changed in the early 1980s. Even a comparatively cheap, efficiently made genre picture intended for theatrical release began to cost millions of dollars, as the major movie studios steadily moved into the production of expensive genre movies, raising audience expectations for spectacular action sequences and realistic special effects.[139] Intimations of the trend were evident as early as Airport (1970) and especially in the mega-schlock of The Poseidon Adventure (1972), Earthquake (1973), and The Towering Inferno (1974). Their disaster plots and dialogue were B-grade at best; from an industry perspective, however, these were pictures firmly rooted in a tradition of star-stuffed extravaganzas. The Exorcist had demonstrated the drawing power of big-budget, effects-laden horror. But the tidal shift in the majors' focus owed largely to the enormous success of three films: Steven Spielberg's creature feature Jaws (1975) and George Lucas's space opera Star Wars (1977) had each, in turn, become the highest-grossing film in motion picture history. Superman, released in December 1978, had proved that a studio could spend $55 million on a movie about a children's comic book character and turn a big profit—it was the top box-office hit of 1978.[140] Blockbuster fantasy spectacles like the original 1933 King Kong had once been exceptional; in the new Hollywood, increasingly under the sway of multi-industrial conglomerates, they ruled.[141] It had taken a decade and a half, from 1961 to 1976, for the production cost of the average Hollywood feature to double from $2 million to $4 million—a decline if adjusted for inflation. In just four years it more than doubled again, hitting $8.5 million in 1980 (a constant-dollar increase of about 25%). Even as the U.S. inflation rate eased, the average expense of moviemaking continued to soar.[142] With the majors now routinely saturation booking in over a thousand theaters, it was becoming increasingly difficult for smaller outfits to secure the exhibition commitments needed to turn a profit. Double features were now literally history—almost impossible to find except at revival houses. One of the first leading casualties of the new economic regime was venerable B studio Allied Artists, which declared bankruptcy in April 1979.[143] In the late 1970s, AIP had turned to producing relatively expensive films like the very successful Amityville Horror and the disastrous Meteor in 1979. The studio was sold off and dissolved as a moviemaking concern by the end of 1980.[144] Despite the mounting financial pressures, distribution obstacles, and overall risk, many genre movies from small studios and independent filmmakers were still reaching theaters. Horror was the strongest low-budget genre of the time, particularly in the slasher mode as with The Slumber Party Massacre (1982), written by feminist author Rita Mae Brown. The film was produced for New World on a budget of $250,000.[145] At the beginning of 1983, Corman sold New World; New Horizons, later Concorde–New Horizons, became his primary company. In 1984, New Horizons released a critically applauded movie set amid the punk scene written and directed by Penelope Spheeris. The New York Times review concluded: "Suburbia is a good genre film."[146] Larry Cohen continued to twist genre conventions in pictures such as Q (a.k.a. Q: The Winged Serpent; 1982), described by critic Chris Petit as "the kind of movie that used to be indispensable to the market: an imaginative, popular, low-budget picture that makes the most of its limited resources, and in which people get on with the job instead of standing around talking about it".[147] In 1981, New Line put out Polyester, a John Waters movie with a small budget and an old-school exploitation gimmick: Odorama. That October The Book of the Dead, a gore-filled yet stylish horror movie made for less than $400,000, debuted in Detroit.[148] Its writer, director, and co-executive producer, Sam Raimi, was a week shy of his twenty-second birthday; star and co-executive producer Bruce Campbell was twenty-three. It was picked up for distribution by New Line, retitled The Evil Dead, and became a hit. In the words of one newspaper critic, it was a "shoestring tour de force".[149] One of the most successful 1980s B studios was a survivor from the heyday of the exploitation era, Troma Pictures, founded in 1974. Troma's most characteristic productions, including Class of Nuke 'Em High (1986), Redneck Zombies (1986), and Surf Nazis Must Die (1987), take exploitation for an absurdist spin. Troma's best-known production is The Toxic Avenger (1984); its hideous hero, affectionately known as Toxie, was featured in three sequels, an 2023 reboot and a TV cartoon series.[150] One of the few successful B studio startups of the decade was Rome-based Empire Pictures, whose first production, Ghoulies, reached theaters in 1985. The video rental market was becoming central to B film economics: Empire's financial model relied on seeing a profit not from theatrical rentals, but only later, at the video store.[151] A number of Concorde–New Horizon releases went this route as well, appearing only briefly in theaters, if at all. The growth of the cable television industry also helped support the low-budget film industry, as many B movies quickly wound up as "filler" material for 24-hour cable channels or were made expressly for that purpose.[152] 1990s [edit] By 1990, the cost of the average U.S. film had passed $25 million.[153] Of the nine films released that year to gross more than $100 million at the U.S. box office, two would have been strictly B-movie material before the late 1970s: Teenage Mutant Ninja Turtles and Dick Tracy. Three more—the science-fiction thriller Total Recall, the action-filled detective thriller Die Hard 2, and the year's biggest hit, the slapstick kiddie comedy Home Alone—were also far closer to the traditional arena of the Bs than to classic A-list subject matter.[154] The growing popularity of home video and access to unedited movies on cable and satellite television along with real estate pressures were making survival more difficult for the sort of small or non-chain theaters that were the primary home of independently produced genre films.[155] Drive-in screens too were rapidly disappearing from the American landscape.[156] Surviving B movie operations adapted in different ways. Releases from Troma now frequently went straight to video. New Line, in its first decade, had been almost exclusively a distributor of low-budget independent and foreign genre pictures. With the smash success of exploitation veteran Wes Craven's original Nightmare on Elm Street (1984), whose nearly $2 million cost it had directly backed, the company began moving steadily into higher-budget genre productions. In 1994, New Line was sold to the Turner Broadcasting System; it was soon being run as a midsized studio with a broad range of product alongside Warner Bros. within the Time Warner conglomerate.[157] The following year, Showtime launched Roger Corman Presents, a series of thirteen straight-to-cable movies produced by Concorde–New Horizons. A New York Times reviewer found that the initial installment qualified as "vintage Corman ... spiked with everything from bared female breasts to a mind-blowing quote from Thomas Mann's Death in Venice".[158] At the same time as exhibition venues for B films vanished, the independent film movement was burgeoning; among the results were various crossovers between the low-budget genre movie and the "sophisticated" arthouse picture. Director Abel Ferrara, who built a reputation with violent B movies such as The Driller Killer (1979) and Ms. 45 (1981), made two works in the early nineties that marry exploitation-worthy depictions of sex, drugs, and general sleaze to complex examinations of honor and redemption: King of New York (1990) was backed by a group of mostly small production companies and the cost of Bad Lieutenant (1992), $1.8 million, was financed totally independently.[159] Larry Fessenden's micro-budget monster movies, such as No Telling (1991) and Habit (1997), reframe classic genre subjects—Frankenstein and vampirism, respectively—to explore issues of contemporary relevance.[160] The budget of David Cronenberg's Crash (1996), $10 million, was not comfortably A-grade, but it was hardly B-level either. The film's imagery was another matter: "On its scandalizing surface, David Cronenberg's Crash suggests exploitation at its most disturbingly sick", wrote critic Janet Maslin.[161] Financed, like King of New York, by a consortium of production companies, it was picked up for U.S. distribution by Fine Line Features. This result mirrored the film's scrambling of definitions: Fine Line was a subsidiary of New Line, recently merged into the Time Warner empire—specifically, it was the old exploitation distributor's arthouse division.[162] Pulp Fiction (1994), directed by Quentin Tarantino on an $8.5 million budget, became a hugely influential hit by crossing multiple lines, as James Mottram describes: "With its art house narrative structure, B-movie subject matter and Hollywood cast, the film is the axis for three distinct cinematic traditions to intersect."[163] Transition in the 2000s and after [edit] By the turn of the millennium, the average production cost of an American feature had already spent three years above the $50 million mark.[153] In 2005, the top ten movies at the U.S. box office included three adaptations of children's fantasy novels, one extending and another initiating a series (Harry Potter and the Goblet of Fire and The Chronicles of Narnia: The Lion, The Witch and the Wardrobe, respectively), a child-targeted cartoon (Madagascar), a comic book adaptation (Batman Begins), a sci-fi series installment (Star Wars: Episode III – Revenge of the Sith), a sci-fi remake (War of the Worlds), and a King Kong remake.[164] It was a slow year for Corman: he produced just one movie, which had no American theatrical release, true of most of the pictures he had been involved in over the preceding decade.[165] As big-budget Hollywood movies further usurped traditional low-rent genres, the ongoing viability of the familiar brand of B movie was in grave doubt. New York Times critic A. O. Scott warned of the impending "extinction" of "the cheesy, campy, guilty pleasures" of the B picture.[166] On the other hand, recent industry trends suggest the reemergence of something like the traditional A-B split in major studio production, though with fewer "programmers" bridging the gap. According to a 2006 report by industry analyst Alfonso Marone, "The average budget for a Hollywood movie is currently around $60 m, rising to $100 m when the cost of marketing for domestic launch (USA only) is factored into the equation. However, we are now witnessing a polarisation of film budgets into two tiers: large productions ($120–150 m) and niche features ($5–20m). Fewer $30–70 m releases are expected."[167] Fox launched a new subsidiary in 2006, Fox Atomic, to concentrate on teen-oriented genre films. The economic model was deliberately low-rent, at least by major studio standards. According to a Variety report, "Fox Atomic is staying at or below the $10 million mark for many of its movies. It's also encouraging filmmakers to shoot digitally, a cheaper process that results in a grittier, teen-friendly look. And forget about stars. Of Atomic's nine announced films, not one has a big name".[168] The newfangled B movie division was shut down in 2009.[169] As the Variety report suggests, recent technological advances greatly facilitate the production of truly low-budget motion pictures. Although there have always been economical means with which to shoot movies, including Super 8 and 16 mm film, as well as video cameras recording onto analog videotape, these media could not rival the image quality of 35 mm film. The development of digital cameras and post-production methods now allow even low-budget filmmakers to produce films with excellent, and not necessarily "grittier", image quality and editing effects. As Marone observes, "the equipment budget (camera, support) required for shooting digital is approximately 1/10 that for film, significantly lowering the production budget for independent features. At the same time, [since the early 2000s], the quality of digital filmmaking has improved dramatically."[167] Independent filmmakers, whether working in a genre or arthouse mode, continue to find it difficult to gain access to distribution channels, though digital end-to-end methods of distribution offer new opportunities. In a similar way, Internet sites such as YouTube have opened up entirely new avenues for the presentation of low-budget motion pictures.[170] Likewise, from the year 2000 onward, the acceleration and implementation of computer generated imagery continued at an unprecedented rate.[171] This lent to the creation of effects that would otherwise prove too costly using traditional methods. Certain genres in particular, such as disaster or creature features, saw increasing use of CGI. Consequently, this trend spurred a boost in B-grade productions targeted to a mass audience. In this vein, film companies, such as The Asylum, or channels, such as Syfy, made a concerted effort towards the development of B-grade movies with some even making such films a key part of their business model.[172] Often, however, many of such were produced in an effort to capitalize on the success of more established features. Moreover, this new direction likewise garnered involvement from veteran B-movie filmmakers such as Roger Corman and Jim Wynorski. Associated terms [edit] The terms C movie and the more common Z movie describe progressively lower grades of the B movie category. The terms drive-in movie and midnight movie, which emerged in association with specific historical phenomena, are now often used as synonyms for B movie. C movie [edit] The C movie is the grade of motion picture at the low end of the B movie, or in some taxonomies, simply below it.[173] In the 1980s, with the growth of cable television, the C grade began to be applied with increasing frequency to low-quality genre films used as filler programming for that market. The "C" in the term then does double duty, referring not only to quality that is lower than "B" but also to the initial c of cable. Helping to popularize the notion of the C movie was the TV series Mystery Science Theater 3000 (1988–99), which ran on national cable channels (first Comedy Central, then the Sci Fi Channel) after its first year. Updating a concept introduced by TV hostess Vampira over three decades before, MST3K presented cheap, low-grade movies, primarily science fiction of the 1950s and 1960s, along with running voiceover commentary highlighting the films' shortcomings. Director Ed Wood has been called "the master of the 'C-movie'" in this sense, although Z movie (see below) is perhaps even more applicable to his work.[174] The rapid expansion of niche cable and satellite outlets such as Sci Fi (with its Sci Fi Pictures) and HBO's genre channels in the 1990s and 2000s has meant a market for contemporary C pictures, many of them "direct to cable" movies—small-budget genre films never released in theaters.[175] Z movie [edit] Main article: Z movie The term Z movie (or grade-Z movie) is used by some to characterize low-budget pictures with quality standards well below those of most B and even C movies. Most films referred to as Z movies are made on very small budgets by operations on the fringes of the commercial film industry. The micro-budget "quickies" of 1930s fly-by-night Poverty Row production houses may be thought of as early Z movies.[176] The films of director Ed Wood, such as Glen or Glenda (1953) and Plan 9 from Outer Space (1957), the latter frequently cited as one of the worst pictures ever made,[177] exemplify the classic grade-Z movie. Latter-day Zs are often characterized by violent, gory or sexual content and a minimum of artistic interest; they are often destined for the subscription TV equivalent of the grindhouse.[178] Psychotronic movie [edit] Psychotronic movie is a term coined by film critic Michael J. Weldon—referred to by a fellow critic as "the historian of marginal movies"—to denote the sort of low-budget genre pictures that are generally disdained or ignored entirely by the critical establishment.[179] Weldon's immediate source for the term was the Chicago cult film The Psychotronic Man (1980), whose title character is a barber who develops the ability to kill using psychic energy. According to Weldon, "My original idea with that word is that it's a two-part word. 'Psycho' stands for the horror movies, and 'tronic' stands for the science fiction movies. I very quickly expanded the meaning of the word to include any kind of exploitation or B-movie."[180] The term, popularized beginning in the 1980s with publications of Weldon's such as The Psychotronic Encyclopedia of Film, The Psychotronic Video Guide, and Psychotronic Video magazine, has subsequently been adopted by other critics and fans. Use of the term tends to emphasize a focus on and affection for those B movies that lend themselves to appreciation as camp.[181] B-television [edit] Main article: B-television B-television is the term used by the German media scholar Heidemarie Schumacher in her article "From the True, the Good, the Beautiful to the Truly Beautiful Goods—audience identification strategies on German 'B-Television' programs" as an analogy to "B-movie" to characterize the development of German commercial television, which adopted "the aesthetics of commercials" with its "inane positiveness radiated by every participant, the inclusion of clips, soft focus, catchy music" as well as "promotion of merchandise through product placement".[182] Schumacher notes that after 1984 deregulation German public television passed its climax and became marginalized. Newly established commercial stations, operating without the burden of societal legitimacy, focused solely on profitability. To establish and maintain viewer loyalty, these stations broadcast reality shows, sensational journalism, daily soap operas, infotainment programs, talk shows, game shows and soft pornography. In his article Schumacher mentions Amusing Ourselves to Death by an American cultural critic Neil Postman, who formulated the thesis of television programming as a derivative of advertising, creating "a species of information that might properly be called disinformation—misplaced, irrelevant, fragmented or superficial information that creates the illusion of knowing something but which in fact leads one away from knowing". Like Postman, Schumacher notes that contemporary television advertisement often chooses to reinforce brand loyalty rather than promoting product. This reverse marketing approach is used by television broadcasters to advertise the stations themselves. Schumacher lists three specific principles: grabbing the viewers' attention, establishing emotional involvement with the audience, and maintaining the viewers' interest as the cornerstones to acquiring and maintaining market share. A commercial RTL station described such a building of viewers' loyalty in positive terms: "RTL has discovered something entirely new for television. The viewer".[182] Schumacher argues that viewer loyalty is established primarily through the representation of familiar emotional situations and the everyday problems of the viewers, which means that private stations broadcast predominantly private affairs. Further development of this approach led to creation of reality TV shows, which generate new realities by intervening directly in the actual life of its participants. Such personalisation and dramatization of television precipitated the "Fall of Public Man", in words of Richard Sennett. The strategy of creating viewer loyalty through emotional sensations is reflected in scandalous "special news" that "favor sex and crime topics and employ highly affective commentary style, a clip aesthetic as well as a musical accompaniment borrowed from the crime film genre".[182] As an example, Schumacher mentions Real Personal, a talk show about human sexuality that was televised by NBC five times a week during 1990s. "The title itself encapsulates the message of 'B-TV': real people and their 'real' problems are the focus here",[182] contemplates Schumacher. Mentioning the highly successful entertainment programs of David Letterman and Jay Leno, Schumacher proclaims that a talk show host, seen daily on the television screen, becomes almost a part of the family. "Spreading not only inanity, but also a sense of security", the host "provides a fixed portion of our daily routine" along with a daily soap opera, daily infotainment show or a daily game show. 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Berkeley, Los Angeles, and London: University of California Press. ISBN 0-520-22130-3 Schneider, Steven Jay, and Tony Williams (2005). Horror International. Detroit: Wayne State University Press. ISBN 0-8143-3101-7 Schrader, Paul (1972). "Notes on Film Noir", in Silver and Ursini, Film Noir Reader, pp. 53–63 (originally published in Film Comment 8, no. 1). Scott, A. O. (2005). "Where Have All the Howlers Gone?" The New York Times, "Arts & Leisure," December 18. Segrave, Kerry (1992). Drive-In Theaters: A History from Their Inception in 1933. Jefferson, N.C., and London: McFarland. ISBN 0-89950-752-2 Shapiro, Jerome F. (2002). Atomic Bomb Cinema: The Apocalyptic Imagination on Film. New York and London: Routledge. ISBN 0-415-93659-4 Silver, Alain (1995). "Kiss Me Deadly: Evidence of a Style", rev. ver., in Silver and Ursini, Film Noir Reader, pp. 209–35. Silver, Alain, and James Ursini, eds. (1996). Film Noir Reader. Pompton Plains, N.J.: Limelight. ISBN 0-87910-197-0 Staiger, Janet (2000). Blockbuster TV: Must-see Sitcoms in the Network Era. New York and London: New York University Press. ISBN 0-8147-9757-1 Stevenson, Jack (2003). Land of a Thousand Balconies: Discoveries and Confessions of a B-Movie Archaeologist. Manchester, UK: Headpress/Critical Vision. ISBN 1-900486-23-7 Strawn, Linda May (1975 [1974]). "Samuel Z. Arkoff [interview]", in McCarthy and Flynn, Kings of the Bs, pp. 255–66. Syder, Andrew, and Dolores Tierney (2005). "Importation/Mexploitation, or, How a Crime-Fighting, Vampire-Slaying Mexican Wrestler Almost Found Himself in an Italian Sword-and-Sandals Epic", in Schneider and Williams, Horror International, pp. 33–55. Taves, Brian (1995 [1993]). "The B Film: Hollywood's Other Half", in Balio, Grand Design, pp. 313–50. Thompson, Howard (1960). "'Hercules Unchained' Heads Twin Bill", The New York Times, July 14 (available online). Tuska, Jon (1974). "The American Western Cinema: 1903–Present", in Nachbar, Focus on the Western, pp. 25–43. Tuska, Jon (1999). The Vanishing Legion: A History of Mascot Pictures, 1927–1935. Jefferson, N.C.: McFarland. ISBN 0-7864-0749-2 Van Peebles, Melvin (2003). "The Real Deal: What It Was... Is! Sweet Sweetback's Baadasssss Song" (commentary accompanying Xenon Entertainment DVD release of Sweet Sweetback's Baadasssss Song). Warren, Bill (2001). The Evil Dead Companion. New York: St. Martin's. ISBN 0-312-27501-3 Waterman, David (2005). Hollywood's Road to Riches. Cambridge, Mass.: Harvard University Press. ISBN 0-674-01945-8 West, Richard (1974). "Scariest Movie Ever?", Texas Monthly, March, p. 9. Williams, Tony (1996). Hearths of Darkness: The Family in the American Horror Film. Cranbury, N.J., London, and Mississauga, Ontario: Associated University Presses. ISBN 0-8386-3564-4 Willis, Sharon (1997). High Contrast: Race and Gender in Contemporary Hollywood Film. Durham, N.C.: Duke University Press. ISBN 0-8223-2041-X Wood, Robin (2003). Hollywood from Vietnam to Reagan—and Beyond, exp. and rev. ed. New York and Chichester, West Sussex: Columbia University Press. ISBN 0-231-12967-X Wyatt, Justin (1998). "The Formation of the 'Major Independent': Miramax, New Line, and the New Hollywood", in Contemporary Hollywood Cinema, ed. Stephen Neale and Murray Smith, pp. 74–90. New York and London: Routledge. ISBN 0-415-17010-9 Zeitchik, Steven, and Nicole Laporte (2006). "Atomic Label Proves a Blast for Fox", Variety, November 19 (available online Archived January 21, 2010, at the Wayback Machine). B movies at Curlie The Biology of B-Movie Monsters analysis by Michael C. LaBarbera, University of Chicago Dwight Cleveland collection of posters, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences Interviews of B movie professionals [edit] The Astounding B-Monster Archive Badmovies.org Interviews Rogue Cinema Search My Trash Miscellaneous [edit]
28270	yago	0	31	https://thepopbreak.com/2009/12/24/own-rent-avoid-guy-ritchie-films/	en	Own, Rent, Avoid: Guy Ritchie Films	http://bandbent.files.wordpress.com/2009/12/own-it-lock-stock.jpg	http://bandbent.files.wordpress.com/2009/12/own-it-lock-stock.jpg	[ "https://thepopbreak.com/wp-content/uploads/2023/10/The-Pop-Break-8.jpg", "https://thepopbreak.com/wp-content/uploads/2023/10/The-Pop-Break-8.jpg", "http://bandbent.files.wordpress.com/2009/12/own-it-lock-stock.jpg", "http://bandbent.files.wordpress.com/2009/12/rent-it-rocknrolla.jpg", "http://bandbent.files.wordpress.com/2009/12/avoid-it-revolver.jpg", "https://secure.gravatar.com/avatar/85ecf79e34488fedb7ce0067c730d9a8?s=117&d=mm&r=g", "https://secure.gravatar.com/avatar/59b0c70e245aa279002363b76de0a96b?s=50&d=mm&r=g", "https://secure.gravatar.com/avatar/09865dd1bc0c136d5dadf041b4c80e73?s=50&d=mm&r=g", "https://secure.gravatar.com/avatar/e34111d673ebcdd804aa777c9d1b497d?s=50&d=mm&r=g", "https://thepopbreak.com/wp-content/uploads/2023/10/fav.png" ]	[]	[]	[ "" ]	null	[ "Bill Bodkin" ]	2009-12-24T00:00:00	This is the newest column for the B&B: Own, Rent, Avoid. The concept is actually a version of the game “Shag, Marry, Kill” (replace “shag” with a rather salty word for the U.S. version) that people often play when speaking about celebrities. So, we’re going to take the same principles but change them to “Own, […]	en	/wp-content/uploads/2023/10/fav.png	The Pop Break	https://thepopbreak.com/2009/12/24/own-rent-avoid-guy-ritchie-films/	This is the newest column for the B&B: Own, Rent, Avoid. The concept is actually a version of the game “Shag, Marry, Kill” (replace “shag” with a rather salty word for the U.S. version) that people often play when speaking about celebrities. So, we’re going to take the same principles but change them to “Own, Rent, Avoid” and apply the theory to films and albums. In our debut column, we’re going to look at the films of Guy Ritchie. With Sherlock Holmes being released on Christmas Day, we figured this would be a perfect opportunity to critique the films of the former Mr. Madonna. I’d like to note that his most popular film, Snatch, is not included on this list. I figured that most people have seen and love Snatch, and the films we’ve chosen are little more obscure. — Bill Bodkin The movie that started it all for Ritchie. The film was originally just supposed to be a low-budget indie British gangster flick that happened to be produced by Sting’s wife, Trudie Styler, and directed by an acclaimed music video director. But Lock, Stock became not only the highest grossing U.K. film in 1998, but to that point the highest grossing indie film in U.K. history. It would also launch Jason Statham, Jayson Flemying and Vinnie Jones’ careers in the U.S. The film revolves around four friends (Flemying, Statham, Nick Moran and Dexter Fletcher) who want to make a big score. They bank roll Eddie (Moran), a top card shark, with all their life’s savings, so he can get into a high stakes poker game run by a local porn magnate. Knowing the talent of young Eddie, the magnate cheats and Eddie not only loses his friends money but ends up owing double and if they don’t pay … they’re all dead. So in a mad dash to make some cash, they rip off local gangsters, who’ve been ripping off local drug dealers. Subplots about two ancient shotguns, a whole lot of marijuana, a cameo by Sting and 125-plus droppings of the F bomb, and we’ve got ourselves a caper flick. The appeal of Lock, Stock was a combination of what would become Ritchie trademarks: uniquely named criminals whose lives Tarantino-ly criss-cross within the span of a week. A meticulously perfect soundtrack featuring ’70s soul and funk, ’90s Brit rock and some random oddities combine perfectly with Ritchie’s unique cinematography and cut scenes. It’s a style many, including Ritchie himself in layer years, would try to recapture but failed miserably. In plain English, the film is a British Tarantino flick combined with all the elements of a clever con movie like The Sting. It’s violent, it’s funny and it’ll keep you guessing to the end. In 2008, Guy Ritchie was desperate for a hit film. After directing the abominable Swept Away, starring ex-wife Madonna and the miserable pseudo-intellectual gangster flick Revolver, Ritchie return to his London crime film roots. RocknRolla is a story of deceit, excess and land deals in London. One Two (Gerard Butler) and Mumbles (Idris Elba of Obsessed and The Office) are two former tough guys looking to go straight. They try to broker a land deal but end up in the sticky web of lies spun by London millionaire, gangster and bad guy Lenny Cole (Tom Wilkinson). The former crooks must reluctantly dive back into the world of crime at the behest of Cole, and, of course, hijinks and chicanery ensue. A huge monkey wrench is thrown in when presumed dead junkie rock star Johnny Quid (Tobby Kebbell) comes into the mix and wants a piece of the action for himself. While not as clever and funny as Lock, Stock or Snatch, RocknRolla showed that Ritchie still had some magic left. The film is a bit frustratingly slow at the outset, thanks in part to a bland performance by the film’s female lead Thandie Newtown. However, the slow build is quite intentional (the film is the first of a supposed trilogy) and the second act is vintage Ritchie — high-octane editing, snappy dialogue, tough guys throwing punches and one heck of an ending. The film is enjoyable, and I recommend weathering the initial storm of the first half hour. Performances by the always,smiling Butler and a scene,stealing performances from new Ritchie favorite Mark Strong are worth the cost of a rent. Well … you have to give credit for trying. In 2005, Revolver debuted to awful reviews and grossed under one million pounds in the U.K. and under $100,00 in the U.S. After viewing the film, one can understand why. The movie “revolves” around Jake Green (a bearded and long-haired Jason Statham), who after being released from jail, heads to a nameless casino and takes the owner, Dorothy “Mr. D” Macha (Ray Liotta), for a huge sum of money. Green leaves the casino, keels over and wakes up in the care of Vinny Pastore and Andre 3000. Green is informed that he has three days to live — then, Big Pussy and 3000 demand all his money in return for protection from Macha. Green agrees, and then spends the rest of the film wondering who his enemy really is while trying to take more money from Macha. Confusing? Yes. Nonsensical? You bet. Ritchie’s clever camera work and a strong performance by Andre 3000 can’t make up for the fact this is one of the worst movies ever made. It tries to be Snatch at times and other times like a philosophical text. Don’t believe me? At the end of the film, Ritchie actually has philosophical and spiritual writers like Deepak Chopra speaking during the credits, trying to explain the themes. I am not even joking. Please avoid this film at all costs.
28270	yago	2	28	https://www.radiotimes.com/tv/drama/the-gentlemen-film-series-link-explained/	en	How is The Gentlemen on Netflix linked to the original film?	https://images.immediate…esize=1200%2C630	https://images.immediate…esize=1200%2C630	[ "https://images.immediate.co.uk/production/volatile/sites/3/2021/07/cropped-cropped-cropped-radiotimescom-logo2-2c180e8-63292d2-8ec420d-7a7587d.png?quality=90&resize=120,23", "https://images.immediate.co.uk/production/volatile/sites/3/2021/07/cropped-cropped-cropped-radiotimescom-logo2-2c180e8-63292d2-8ec420d-7a7587d.png?quality=90&resize=265,50", "https://images.immediate.co.uk/production/volatile/sites/3/2024/03/TG105Unit01097RT-edb0fd1.jpg?quality=90&resize=980,654", "https://images.immediate.co.uk/production/volatile/sites/3/2024/03/Jasmine-Blackborow-as-Charly-7257c48.jpg?quality=90&fit=700,466", "https://images.immediate.co.uk/production/volatile/sites/3/2021/05/matthew_mcconaughey_the_gentlemen-8a23caa.jpg?quality=90&fit=620,413", "https://images.immediate.co.uk/production/volatile/sites/3/2024/08/Untitled-design-36-f153341.png?quality=90&resize=93,84", "https://images.immediate.co.uk/production/volatile/sites/3/2024/08/RT-Shop-Products-301-x-198-px-1-e03ec24.png?quality=90&resize=93,84", "https://images.immediate.co.uk/production/volatile/sites/3/2024/08/Couple-on-a-boat-290-GettyImages-120521792-1-4995f84.jpg?quality=90&resize=93,84", "https://images.immediate.co.uk/production/volatile/sites/3/2023/07/cropped-RadioTimes01-01-1-b003bef-d698844.png?quality=90&resize=220,30", "https://images.immediate.co.uk/production/volatile/sites/3/2024/03/ImmediateLogoRGBWhite-30678ec.png?quality=90&resize=3873,767", "https://images.immediate.co.uk/production/volatile/sites/3/2019/12/ipso-sq-7800070.png?quality=90&resize=80,80" ]	[ "https://media.delight.video/f0cf5e3e9068d9a4affa36d5c8962eaf1a0662ba/d7a0c12c4bbeef32676400b59969cdc1c1b169c7/MEDIA/v0/HD/media.mp4" ]	[]	[ "" ]	null	[ "James Hibbs", "Molly Moss" ]	2024-04-08T10:41:34+01:00	Both the 2020 film The Gentlemen and the new Netflix series of the same name have come from the mind of Guy Ritchie. But how are they connected?	en		Radio Times	https://www.radiotimes.com/tv/drama/the-gentlemen-film-series-link-explained/	He's soon thrust into the dangerous criminal underworld and forced to interact with a handful of unsavoury characters. So, how is the new series connected to the film version, and do they share any cast members or characters? Read on for everything you need to know. Is the Gentleman series based on the original movie? The new series is set in the same world as the film, and shares some themes and a similar central set-up, but there's no connection to the previous characters. More like this The film version starred Matthew McConaughey as Mickey Pearson, a cannabis baron who was growing his product under the estates of aristocrats, all of whom needed cash for the upkeep of their stately homes. The series, meanwhile, follows one of those aristocrats, whose land is being used by a different cannabis baron in the same way. Speaking about how the new series is set in the same world as the film, Ritchie previously told Netflix Tudum: "We’re looking forward to bringing fans back into that world, introducing new characters and their stories, and I am excited to be doing it with this extremely talented cast." Meanwhile Daniel Ings, who plays Freddie Horniman in the series, spoke with RadioTimes.com exclusively, and explained how he would describe the connection between the show and the film. He said: "I would say that it kind of shares the DNA of the movie. It takes that idea of gangsters getting into bed with, going into business with the rich aristocracy, who have these huge empires and all this land, but really no cash, no disposable cash, so they're leasing the land. "And I think it takes that idea from the movie and expands on it and goes, 'Well, who are these people that have these crumbling empires and who are clinging on to the past, but need these gangsters, need these modern criminals in order to stay afloat?' "So, it's obviously a key part of the film, but the series I think takes that element of it and grows it like a fine weed farm." Meanwhile, Max Beesley, who plays Henry Collins in the show, added: "The only similar nuance is the drug, really... the marijuana. I think it's a different beast, but there are the same nuances in there. "There is comedy, there's action, there's drama in there, but we've got new characters introduced, new actors introduced, who all in their own right are terrific, strong, strong performers. "And so, for fans of the film, they're getting a double bubble, really, but they're getting eight episodes, which is terrific." Do any of the stars of The Gentlemen film appear in the series? No, they don't. While some fans may have been hoping for a cameo from Matthew McConaughey's Mickey or Michelle Dockery as Rosalind, neither appear, and nor do any of the film's other stars or characters. The show is, instead, a complete clean slate, starring the likes of Theo James, Kaya Scodelario, Daniel Ings, Joely Richardson, Vinnie Jones, Ray Winstone, Max Beesley and Giancarlo Esposito. The Gentlemen is available to stream on Netflix now. Sign up for Netflix from £4.99 a month. Netflix is also available on Sky Glass and Virgin Media Stream. Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what's on.
28270	yago	2	90	https://www.pulselive.co.ke/entertainment/movies/guy-ritchie-films-as-exciting-as-the-gentlemen-on-netflix/95xfccr	en	6 Guy Ritchie films you need to rewatch if you loved 'The Gentlemen' on Netflix	https://ocdn.eu/pulscms-transforms/1/oTXktkqTURBXy9lZGZkYmY1ZWEyMTFjNGI5YTNkMzM5ZDFkZGI4YTVkMC5qcGVnkpUDAADNBFfNAnGTBc0EsM0Cdg	https://ocdn.eu/pulscms-transforms/1/oTXktkqTURBXy9lZGZkYmY1ZWEyMTFjNGI5YTNkMzM5ZDFkZGI4YTVkMC5qcGVnkpUDAADNBFfNAnGTBc0EsM0Cdg	[ "https://radp.ocdn.eu/images/60x30-KE-WHITE.svg", "https://radp.ocdn.eu/images/60x30-KE-WHITE.svg", "https://ocdn.eu/pulscms-transforms/1/uxxktkqTURBXy9lZGZkYmY1ZWEyMTFjNGI5YTNkMzM5ZDFkZGI4YTVkMC5qcGVnkpUDAADNBFfNAnGTBc0DFs0Brg" ]	[]	[]	[ "" ]	null	[ "Miriam Mwende" ]	2024-03-23T09:30:00+03:00	For fans of Netflix comedy series The Gentlemen looking for more of Guy Ritchies signature cinematic experiences, heres a curated list of his films that echo the same thrilling, stylistic, and narrative beats. \| Pulselive Kenya	en	https://ocdn.eu/radp/pwa/512x512.png	Pulselive Kenya	https://www.pulselive.co.ke/entertainment/movies/guy-ritchie-films-as-exciting-as-the-gentlemen-on-netflix/95xfccr	Guy Ritchie is one of the most well-known film directors because of his work with Hollywood actors Matthew McConaughey, Robert Downey Jr, Jason Statham and his marriage to Madonna. Guy Ritchie is renowned for his distinctive style of filmmaking, characterised by fast-paced narratives, complex, interlocking storylines, sharp dialogue, and a unique blend of comedy and action.
28270	yago	0	89	https://www.giantfreakinrobot.com/ent/guy-ritchie-sued-stealing-movie.html	en	Guy Ritchie Being Sued For Stealing His Best Movie’s Story	https://www.giantfreakin…/guy-ritchie.jpg	https://www.giantfreakin…/guy-ritchie.jpg	[ "https://www.giantfreakinrobot.com/wp-content/themes/face3-gfr/assets/images/GFR-logo-dev-b6030d-4.1.png", "https://www.giantfreakinrobot.com/wp-content/uploads/2022/05/the-gentleman-table-900x506.jpg", "https://www.giantfreakinrobot.com/wp-content/uploads/2023/08/the-gentlemen-900x540.jpg", "https://www.giantfreakinrobot.com/wp-content/uploads/2024/03/16-and-Pregnant-385x200.jpg", "https://www.giantfreakinrobot.com/wp-content/uploads/2022/03/natalie-portman-attached-385x200.jpg", "https://www.giantfreakinrobot.com/wp-content/uploads/2024/03/Voyager-11-385x200.jpg", "https://www.giantfreakinrobot.com/wp-content/uploads/2022/04/saving-private-ryan-3-385x200.jpg", "https://www.giantfreakinrobot.com/wp-content/uploads/2024/03/Killer-Klowns-From-Outer-Space-5-385x200.jpg", "https://www.giantfreakinrobot.com/wp-content/uploads/2023/12/sandlerthumb2-385x200.png", "https://www.giantfreakinrobot.com/wp-content/uploads/2023/01/the-little-things-denzel-washington-car-385x200.jpg", "https://www.giantfreakinrobot.com/wp-content/uploads/2022/06/hellotherethumb-385x200.jpg", "https://www.giantfreakinrobot.com/wp-content/uploads/2022/05/will-smith-bad-boys-for-life-e1651778940877-385x200.jpeg", "https://www.giantfreakinrobot.com/wp-content/uploads/2024/01/china-flag-385x200.jpg", "https://www.giantfreakinrobot.com/wp-content/uploads/2024/02/Carrie-Fisher-Harrison-Ford-Star-Wars-Empire-Strikes-Back-385x200.jpg", "https://www.giantfreakinrobot.com/wp-content/uploads/2024/03/dinosaur-skeleton-385x200.jpg", "https://www.giantfreakinrobot.com/wp-content/uploads/2024/03/borg-first-contact-385x200.jpg", "https://www.giantfreakinrobot.com/wp-content/themes/face3-gfr/assets/images/gfr-footer-logo.png", "https://pixel.quantserve.com/pixel/p-889gzjdmeT5iw.gif" ]	[]	[]	[ "" ]	null	[ "Jessica Goudreault", "www.facebook.com" ]	2023-08-10T01:38:33+00:00	Guy Ritchie is facing serious allegations that one of his best crime films about gangsters is in fact, stolen, and this couldn't come at a worse time.	en	https://www.giantfreakin…/gfr-favicon.png	GIANT FREAKIN ROBOT	https://www.giantfreakinrobot.com/ent/guy-ritchie-sued-stealing-movie.html	By Jessica Goudreault \| The era of gangster movies may be over, according to director Guy Ritchie, but a lawsuit against him has just begun. Mickey de Hara, who is a writer and a friend of Guy Ritchie’s, is filing a lawsuit against the director for allegedly stealing his story for the 2019 film The Gentlemen, according to Deadline. Mickey de Hara is suing Guy Ritchie alleging that the director hired him for a RocknRolla sequel, before canceling it and making The Gentlemen instead. Originally, the script for The Gentlemen was supposed to be a sequel to Guy Ritchie’s 2008 film RocknRolla. The latter movie starred Gerard Butler and Idris Elba as small-time London gangsters who get caught up with the Russian mob. Guy Ritchie hired Mickey de Hara to help him write a sequel to RocknRolla, paying him £25,000 ($31,900) to share “anecdotes” and “act as a sounding board.” The director then opted to forego the sequel to RocknRolla because he felt that the era of gangster films was over. Instead, he supposedly took the plot points from the script and combined them with real events from de Hara’s life to create the crime comedy The Gentlemen. The Gentlemen stars Matthew McConaughey, Charlie Hunnam, Jeremy Strong, and Colin Farrell, among other A-list actors. As Matthew McConaughey’s character, Mickey Pearson tries to sell off his marijuana empire, it causes all sorts of bribery and deception throughout London. It certainly has a similar feel to RocknRolla, but that is to be expected when it is written and directed by the same person. The lawsuit alleges that Guy Ritchie took parks of Mickey de Hara’s own life and made them plot points in The Gentlemen. Mickey de Hara filed his lawsuit against Guy Richie several months ago, pointing out that The Gentlemen has similar plot points to his life and the sequel he helped write for RocknRolla. Earlier this week, Guy Ritchie submitted a filing to London’s High Court denying that the idea for The Gentlemen was stolen from de Hara. In the meantime, the two will try to negotiate and settle things without going to court. This is all emerging shortly before The Gentlemen TV series comes to Netflix by the end of this year or in early 2024. The new show will follow Eddie Halstead (played by Theo James), who inherits his father’s estate that sits on top of Mickey Pearson’s weed empire. It will star Kaya Scodelario, Vinnie Jones, and Joely Richardson. Guy Ritchie is expanding the universe of The Gentlemen with an upcoming television series starring Theo James and Vinnie Jones. Guy Ritchie is producing the new TV series with his production company Toff Guy Films, and he will direct the first two episodes. In addition to The Gentlemen TV show, Guy Ritchie is also working on a few other projects, including writing and directing The Ministry of Ungentlemanly Warfare and an untitled action movie. The director is best known for his kinetic action movies that feature British dark humor and lots of jump shots, often sitting somewhere between a gangster movie and a martial arts film. Some of his most popular movies so far have been Snatch, Sherlock Holmes, and Lock, Stock and Two Smoking Barrels. While we wait for the dispute between Guy Ritchie and Mickey de Hara to resolve, we hope that it does not impact the new TV series The Gentlemen, which looks to be an entertaining show with a lot of promise.
28270	yago	2	74	https://m.economictimes.com/news/international/us/netflixs-the-gentlemen-sequel-series-cast-plot-and-release-date-revealed/articleshow/107951613.cms	en	Netflix's 'The Gentlemen' sequel series: Cast, plot, and release date revealed	https://img.etimg.com/th…ctimes/photo.jpg	https://img.etimg.com/th…ctimes/photo.jpg	[ "https://img.etimg.com/photo/msid-76920425,quality-100/et-logo.jpg", "https://img.etimg.com/photo/104857408.cms", "https://img.etimg.com/thumb/msid-107951654,width-300,height-225,imgsize-90884,resizemode-75/netflixs-the-gentlemen-sequel-series-cast-plot-and-release-date-revealed.jpg", "https://img.etimg.com/thumb/msid-112634366,imgsize-45318,width-138,height-104,quality-100/prime/money-and-markets/not-tcs-not-hdfc-3-stocks-that-beat-all-benchmarks-and-peers-in-the-last-20-years-.jpg", 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"https://img.etimg.com/thumb/width-100,height-75,msid-112599678/news/international/us/could-mark-zuckerbergs-7-foot-statue-for-wife-be-a-red-flag-therapists-concerned-over-the-effects-of-such-lavishness.jpg", "https://img.etimg.com/photo/msid-74462387,quality-100/et-logo.jpg", "https://img.etimg.com/photo/msid-74451948,quality-100/et-logo.jpg", "https://img.etimg.com/photo/47865640.cms" ]	[]	[]	[ "the gentlemen", "the gentlemen sequel", "the gentlemen 2", "the gentlemen release date", "Guy Ritchie", "lock", "stock", "and two smoking barrels", "Netflix's 'The Gentlemen' sequel series" ]	null	[ "The Feed" ]	2024-02-23T23:27:00+05:30	Guy Ritchie's hit crime-comedy, "The Gentlemen," is gearing up for a Netflix series that promises to expand its universe. Explore the anticipated release date, intriguing plot details, and the impressive cast, offering fans a comprehensive sneak peek into the upcoming show.	en	https://economictimes.indiatimes.com/icons/etfavicon.ico	The Economic Times	https://m.economictimes.com/news/international/us/netflixs-the-gentlemen-sequel-series-cast-plot-and-release-date-revealed/articleshow/107951613.cms	Synopsis Guy Ritchie's hit crime-comedy, "The Gentlemen," is gearing up for a Netflix series that promises to expand its universe. Explore the anticipated release date, intriguing plot details, and the impressive cast, offering fans a comprehensive sneak peek into the upcoming show. Guy Ritchie's successful foray into the crime-comedy genre, "The Gentlemen," is set to expand its universe with an upcoming Netflix series. Here's a comprehensive look at what fans can expect from the show, including the release date, plot details, and the star-studded cast. The Cinematic Evolution of Guy Ritchie In the mid-1990s, the British cinematic landscape witnessed a transformative moment with the emergence of director Guy Ritchie. Known for his perfect blend of gritty crime and witty comedy, Ritchie's early works, including "Lock, Stock, and Two Smoking Barrels" and "Snatch," became iconic in the world of cinema. After exploring diverse genres with films like "King Arthur: Legend of the Sword" and the live-action "Aladdin," Ritchie returned to his roots with "The Gentlemen," paving the way for an anticipated Netflix series. The Gentlemen Series Release Date Scheduled for release on Thursday, March 8, 2024, the Netflix series "The Gentlemen" follows in the footsteps of the successful 2020 film, signaling a continuation of Ritchie's exploration of British crime and comedy. Teasers and Trailers Unveiled According to a report by Collider, Netflix treated fans to a teaser trailer on January 15, 2024, featuring the iconic song "Time of the Season" by Zombies. The teaser provided a glimpse into the intertwining worlds of wealth and criminal activities, maintaining the trademark violence associated with Ritchie's work. A full trailer, released on February 22, 2024, further fueled anticipation for the upcoming series. The Gentlemen Series Plot: Full Circle for Ritchie Originally conceived as a television series, "The Gentlemen" found its way onto the big screen in 2020. Now, with the Netflix series, Ritchie returns to his initial vision, showcasing the full circle journey of this crime-comedy saga. While specific plot details are kept under wraps, fans can expect the series to capture the essence of the original film. Star-Studded Cast: New Faces and Familiar Names The confirmed cast boasts an impressive lineup, including Theo James, Kaya Scodelario, Joely Richardson, Vinnie Jones, Daniel Ings, Giancarlo Esposito, Ray Winstone, Chanel Cresswell, Max Beesley, and others. Notably absent from the official cast list are original film stars like Matthew McConaughey, Charlie Hunnam, Henry Golding, Hugh Grant, and Michelle Dockery, leaving fans curious about potential surprise appearances. Behind the Scenes: Creators and Producers Guy Ritchie takes on multiple roles, serving as an executive producer, writer, and director for the first two episodes. Collaborating with Matthew Read, who co-wrote the series, Ritchie expressed excitement about revisiting the world of "The Gentlemen" and introducing new characters. Additional executive producers include Marn Davies, Ivan Atkinson, Marc Helwig, Will Gould, and Frith Tiplader, ensuring a talented team behind the scenes. Where to Watch "The Gentlemen" Movie For those unfamiliar with the film that sparked the upcoming series, "The Gentlemen" (2020) revolves around Mickey Pearson, an American expatriate with a lucrative marijuana empire in London. As he contemplates an exit from the business, chaos ensues with plots, schemes, bribery, and blackmail. While the film is currently unavailable on streaming services, it can be rented or purchased from various online video stores. As the release date approaches, fans eagerly await the expansion of "The Gentlemen" universe on Netflix, anticipating a captivating blend of crime, comedy, and the distinctive touch of Guy Ritchie. FAQs: Why was The Gentlemen removed from Netflix? Guy Ritchie's film, "The Gentlemen," is currently unavailable on US Netflix. Licensing restrictions have led to its absence from various Netflix catalogs, creating challenges for those looking to enjoy a sophisticated cinematic experience. How much money did The Gentlemen make? The Gentlemen achieved a box office gross of $15.9 million in the United Kingdom, $36.5 million in the United States and Canada, and $62.8 million in other countries, culminating in a global total of $115.2 million. (You can now subscribe to our Economic Times WhatsApp channel) Disclaimer Statement: This content is authored by a 3rd party. The views expressed here are that of the respective authors/ entities and do not represent the views of Economic Times (ET). ET does not guarantee, vouch for or endorse any of its contents nor is responsible for them in any manner whatsoever. Please take all steps necessary to ascertain that any information and content provided is correct, updated, and verified. ET hereby disclaims any and all warranties, express or implied, relating to the report and any content therein. (Catch all the US News, UK News, Canada News, International Breaking News Events, and Latest News Updates on The Economic Times.) Download The Economic Times News App to get Daily International News Updates. ...moreless (You can now subscribe to our Economic Times WhatsApp channel) (Catch all the US News, UK News, Canada News, International Breaking News Events, and Latest News Updates on The Economic Times.) Download The Economic Times News App to get Daily International News Updates. ...moreless Not TCS. Not HDFC. 3 stocks that beat all benchmarks and peers in the last 20 years. Did Google fall behind in the AI race because of WFH? Patent filings tell a different story. The forces at play slicing India’s big family business conglomerates Indian car buyers are holding their horses on EVs and buying this instead Change of heart at RBI? Can banks look forward to new lines of business? Mpox virus is back. Are India’s vaccine makers Serum Institute, Bharat Biotech ready? 1 2 3
28270	yago	2	23	https://www.menshealth.com/entertainment/a60127676/netflix-the-gentlemen-tv-show-related-to-film/	en	How Does The Gentlemen Netflix Series Relate to the Original Movie?	https://hips.hearstapps.…op&resize=1200:*	https://hips.hearstapps.…op&resize=1200:*	[ "https://www.menshealth.com/_assets/design-tokens/fre/static/icons/search.f1c199c.svg", "https://www.menshealth.com/_assets/design-tokens/fre/static/icons/close.38e3324.svg", "https://www.menshealth.com/_assets/design-tokens/menshealth/static/images/logos/logo.f037c7b.svg?primary=%2523D2232E", "https://www.menshealth.com/_assets/design-tokens/fre/static/icons/search.f1c199c.svg?primary=%2523D2232E", "https://www.menshealth.com/_assets/design-tokens/fre/static/icons/search.f1c199c.svg?primary=%2523D2232E", "https://www.menshealth.com/_assets/design-tokens/fre/static/icons/saved.ad81f1a.svg?primary=%2523ffffff", "https://www.menshealth.com/_assets/design-tokens/fre/static/icons/play.db7c035.svg?primary=%2523ffffff", "https://hips.hearstapps.com/vidthumb/images/the-gentlemen-official-trailer-65e9da156215a.jpg?crop=0.7342592592592593xw:1xh;center,top&resize=640:* 640w, https://hips.hearstapps.com/vidthumb/images/the-gentlemen-official-trailer-65e9da156215a.jpg?crop=0.7342592592592593xw:1xh;center,top&resize=980:* 980w, https://hips.hearstapps.com/vidthumb/images/the-gentlemen-official-trailer-65e9da156215a.jpg?crop=0.7342592592592593xw:1xh;center,top&resize=1200:* 1120w", "https://hips.hearstapps.com/hmg-prod/images/robert-bobroczkyi-alien-romulus-66c4c74900977.jpg?crop=0.401xw:0.803xh;0.0527xw,0.0272xh&resize=360:", "https://hips.hearstapps.com/hmg-prod/images/harry-lawtey-kit-harington-66b64fd745fed.jpg?crop=0.513xw:0.769xh;0.264xw,0.0529xh&resize=360:", "https://hips.hearstapps.com/hmg-prod/images/batman-michael-keaton-66c3866060b65.jpg?crop=0.462xw:0.924xh;0.00868xw,0.0208xh&resize=360:", "https://hips.hearstapps.com/hmg-prod/images/homicide-life-on-the-street-66c35a1b8e49b.jpg?crop=0.412xw:0.728xh;0.296xw,0.0377xh&resize=360:", "https://hips.hearstapps.com/hmg-prod/images/alien-romulus-66bd1ecd9c932.jpg?crop=0.447xw:0.671xh;0.550xw,0.216xh&resize=360:", "https://hips.hearstapps.com/hmg-prod/images/romulus-aliens-66be51aa1dfde.jpg?crop=0.451xw:0.901xh;0.0102xw,0.0102xh&resize=360:", "https://hips.hearstapps.com/hmg-prod/images/reacher-tv-show-books-659850b3b140d.jpeg?crop=0.563xw:1.00xh;0.304xw,0&resize=360:", "https://hips.hearstapps.com/hmg-prod/images/xenomorph-2-66be5f460bd63.jpg?crop=0.5xw:1xh;center,top&resize=360:", "https://hips.hearstapps.com/hmg-prod/images/alien-movies-ranked-2-66be232591edb.jpg?crop=0.502xw:1.00xh;0.147xw,0&resize=360:", "https://hips.hearstapps.com/hmg-prod/images/john-summit-main-press-photo-trippydana-2-66bd13a319013.jpg?crop=0.644xw:0.964xh;0.189xw,0.0365xh&resize=360:", "https://hips.hearstapps.com/hmg-prod/images/clooney-tarantino-66bbba8b93e27.jpg?crop=0.428xw:0.856xh;0.0433xw,0.0224xh&resize=360:", "https://hips.hearstapps.com/hmg-prod/images/mh-kitharington-industry-66ba549df2190.jpg?crop=0.5xw:1xh;center,top&resize=360:", "https://www.menshealth.com/_assets/design-tokens/menshealth/static/images/logos/logo.f037c7b.svg?primary=%2523ffffff", "https://www.menshealth.com/_assets/design-tokens/fre/static/icons/social/x.3361b6d.svg?primary=%2523ffffff&id=social-button-icon", "https://www.menshealth.com/_assets/design-tokens/fre/static/icons/social/tiktok.603c377.svg?primary=%2523ffffff&id=social-button-icon", "https://www.menshealth.com/_assets/design-tokens/fre/static/icons/social/youtube.ce3e1ae.svg?primary=%2523ffffff&id=social-button-icon", "https://www.menshealth.com/_assets/design-tokens/fre/static/icons/social/facebook.a5a3a69.svg?primary=%2523ffffff&id=social-button-icon", "https://www.menshealth.com/_assets/design-tokens/fre/static/icons/social/instagram.f282b14.svg?primary=%2523ffffff&id=social-button-icon", "https://www.menshealth.com/_assets/design-tokens/fre/static/icons/social/pinterest.e8cf655.svg?primary=%2523ffffff&id=social-button-icon", "https://www.menshealth.com/_assets/design-tokens/menshealth/static/images/logos/network-logo.1a5b3ca.svg?primary=%2523ffffff" ]	[]	[]	[ "" ]	null	[ "Philip Ellis" ]	2024-03-07T17:59:31.082487+00:00	Guy Ritchie felt that his explosive, expletive-filled story of drug lords vs. real lords was "worth exploring" further.	en	/_assets/design-tokens/menshealth/static/images/favicon.800c51a.ico	Men's Health	https://www.menshealth.com/entertainment/a60127676/netflix-the-gentlemen-tv-show-related-to-film/	DIRECTOR GUY RITCHIE rose to fame in the late '90s and early '00s for making a very specific kind of crime movie: Cockney mob stories full of larger-than-life characters, over-the-top violence, and the frequent flashes of puerile humor. He continued that tradition in 2019's The Gentlemen, which starred Matthew McConaughey as the head of a marijuana empire under attack. And that story is now being remixed and retold in a Netflix original series. This is not the first of Ritchie's films to be given the small-screen spinoff treatment. Following the success of 1998's Lock, Stock, and Two Smoking Barrels, Ritchie co-wrote a TV series entitled Lock, Stock..., which recreated the hapless crook comedy of the original with a brand new cast of characters. The Gentlemen is similarly rebooted here: while billed as a spinoff, it bears little resemblance to the movie, instead introducing a new leading man in Eddie (Theo James), a high-ranking military officer who returns home to take on the title of Duke following his father's death. Once installed in the family seat, Eddie finds himself dealing with a chaotic, drug-addled brother, mounting debts to some very dangerous people, and the discovery that a portion of their estate has been commandeered by a local family for a highly lucrative marijuana-growing business... which might just solve all his problems, or introduce a whole bunch of new ones. Ritchie told the BBC that he found the central premise in his 2019 movie The Gentlemen "worth exploring" further through the medium of TV, and that he believes this story of gangsters and aristocrats has longevity, should a second season be commissioned. "You feel that this could run and run," he said. "The characters take on their own life, all you have to do is establish a character and create their own voice, and then couple that with an actor and we're off to the races."
28270	yago	2	35	https://www.hollywoodreporter.com/tv/tv-news/guy-ritchies-gentlemen-netflix-series-sets-premiere-releases-teaser-1235788232/	en	Guy Ritchie’s ‘Gentlemen’ Netflix Series Sets Premiere, Releases Teaser	https://www.hollywoodrep…296&h=730&crop=1	https://www.hollywoodrep…296&h=730&crop=1	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035310&c4=&cv=3.9&cj=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/25cover.lores_.jpg?w=1154", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/25cover.lores_.jpg?w=1154", "https://www.hollywoodreporter.com/wp-content/uploads/2024/01/TG_101_Unit_00568_RT_TRL2.jpg?w=1296&h=730&crop=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/Lady_In_The_Lake_Photo_010302.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/Kamala-Harris-dnc-1-getty-H-2024.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/24Bcreativearts5-6-Eric-Andre-Main-2024.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/24Bcreativearts5-6-Main-2024.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/24Bfea_directing-Steve-Main-2024.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/uploads/2024/08/24Bfea_guestacting3-4-OMITB-Main-2024.jpg?w=260&h=150&crop=1", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://www.hollywoodreporter.com/wp-content/themes/vip/pmc-hollywoodreporter-2021/assets/public/lazyload-fallback.gif", "https://cdn.shopify.com/s/files/1/0238/6647/products/2019_37_540x.jpg", "https://pixel.quantserve.com/pixel?a.1=&a.2=p-31f3D02tYU8zY" ]	[ "https://www.youtube.com/embed/gnpfKsqeMrM?version=3&rel=1&showsearch=0&showinfo=1&iv_load_policy=1&fs=1&hl=en-US&autohide=2&wmode=transparent" ]	[]	[ "" ]	null	[ "Rick Porter" ]	2024-01-15T17:34:50+00:00	Netflix has set a March premiere and released a teaser for 'The Gentlemen,' its series based on Guy Ritchie's 2019 movie.	en	https://www.hollywoodrep…cons/favicon.png	The Hollywood Reporter	https://www.hollywoodreporter.com/tv/tv-news/guy-ritchies-gentlemen-netflix-series-sets-premiere-releases-teaser-1235788232/	Guy Ritchie‘s Netflix series The Gentlemen has released a teaser, set a premiere date — and revealed a key member of its cast. The series based on Ritchie’s 2019 film of the same name has added Ray Winstone (The Departed, Black Widow) to its ensemble. He’ll play Bobby Glass, a career criminal from London who has built an industrial cannabis empire. The Gentlemen is set to premiere in March on the streamer. Winstone joins Theo James, Kaya Scodelario, Daniel Ings, Joely Richardson, Vinnie Jones, Giancarlo Esposito, Chanel Cresswell, Michael Vu, Max Beesley, Jasmine Blackborow, Harry Goodwins, Dar Salim, Pearce Quigley, Ruby Sear and Peter Serafinowicz in the cast. The story will follow James’ Eddie Horniman, who inherits his father’s country estate and discovers it’s part of a clandestine cannabis empire that a lot of unsavory characters would like to grab from him. Ritchie is the creator, co-writer and executive producer of the series. He also directed the first two episodes. Watch a teaser for The Gentlemen below.
28270	yago	2	62	https://filmustage.com/blog/the-gentleman-with-a-rockers-heart-guy-ritchie/	en	Guy Ritchie is the master of crime films that are funnier than any comedy	https://blog.filmustage.…14-19.10.50.jpeg	https://blog.filmustage.…14-19.10.50.jpeg	[ "https://filmustage.com/static/e45700c562c21bec18fb3c718d888e32/82982/me-2.jpg", "https://filmustage.com/static/e45700c562c21bec18fb3c718d888e32/82982/me-2.jpg", "https://filmustage.com/static/c1944160724030bea8aca8371ceca1d0/fbb82/photo_2021-09-14-19.10.50.jpg", "https://filmustage.com/static/c1944160724030bea8aca8371ceca1d0/fbb82/photo_2021-09-14-19.10.50.jpg", "https://blog.filmustage.com/content/images/2021/09/KghVvcwuBqpI9Q2qKL5l.jpg", "https://blog.filmustage.com/content/images/2021/09/maxresdefault.jpg", "https://blog.filmustage.com/content/images/2021/09/kadr_iz_kinofilma_revolver._kinokubik.com_900x500.jpg", "https://filmustage.com/static/e45700c562c21bec18fb3c718d888e32/82982/me-2.jpg", "https://filmustage.com/static/e45700c562c21bec18fb3c718d888e32/82982/me-2.jpg", "https://filmustage.com/static/207bae4ed863664122df872fde1f903e/f4fcd/photo_2021-09-06-17.34.04.jpg", "https://filmustage.com/static/207bae4ed863664122df872fde1f903e/f4fcd/photo_2021-09-06-17.34.04.jpg", "https://filmustage.com/static/e45700c562c21bec18fb3c718d888e32/b9d71/me-2.jpg", "https://filmustage.com/static/e45700c562c21bec18fb3c718d888e32/b9d71/me-2.jpg", "https://filmustage.com/static/70928013f43b7a77062b555662f20967/f4fcd/photo_2021-09-03-17.29.58.jpg", "https://filmustage.com/static/70928013f43b7a77062b555662f20967/f4fcd/photo_2021-09-03-17.29.58.jpg", "https://filmustage.com/static/e45700c562c21bec18fb3c718d888e32/b9d71/me-2.jpg", "https://filmustage.com/static/e45700c562c21bec18fb3c718d888e32/b9d71/me-2.jpg", "https://filmustage.com/static/519b9918fcc325aa9dff170e0c3d25d3/f4fcd/photo_2021-08-27-12.54.47.jpg", "https://filmustage.com/static/519b9918fcc325aa9dff170e0c3d25d3/f4fcd/photo_2021-08-27-12.54.47.jpg", "https://filmustage.com/static/e45700c562c21bec18fb3c718d888e32/b9d71/me-2.jpg", "https://filmustage.com/static/e45700c562c21bec18fb3c718d888e32/b9d71/me-2.jpg" ]	[ "https://www.youtube.com/embed/NNv8jmau0nU?feature=oembed", "https://www.youtube.com/embed/56jekYL2h7k?feature=oembed", "https://www.youtube.com/embed/lLuhWLNqpiA?feature=oembed", "https://www.youtube.com/embed/D-0_sL5AAVQ?start=172&feature=oembed", "https://www.youtube.com/embed/yWyiuYBKA38?feature=oembed", "https://www.youtube.com/embed/BjlBaPfUfs4?feature=oembed", "https://open.spotify.com/embed/playlist/2a8b7HTZut8bUX1WNpQNl4?si=405ba5b179d54122" ]	[]	[ "" ]	null	[ "Alex Shkurny" ]	2021-09-14T18:27:45+00:00	Guy Ritchie is a famous director with a unique shooting style that he uses well in his films. In this article you will learn all the features of his style.	en	/favicon-32x32.png?v=8fc59dab24c08bf10cc0c287b7a69b11	Filmustage	https://filmustage.com/blog/the-gentleman-with-a-rockers-heart-guy-ritchie/	This director's style is instantly recognisable. He's commonly referred to as the British Tarantino and his crime stories are funnier than any comedy. His films are already iconic and have become memes and quotes. Probably, after the "British" Tarantino, you have already understood that today we are going to talk about Guy Ritchie. Let's break down what's remarkable about his style and why he's just a rockerroller. Art by @nadi_bulochka So why Guy Ritchie is part of the cultural code? It's impossible not to mention here that Guy Ritchie, like many of his colleagues - David Fincher, Michel Gondry, Michael Bay - started his journey into the industry with film-making and advertising. He has certainly excelled in this field, having directed several videos for Madonna as well as a major commercial for BMW in a short film. However, a look at Madonna's ad for BMW M5 shot by Guy Ritchie reveals many of his signature directorial cues - head-banging clip editing, daring shots and angles, slowing down and speeding up the image as well as his trademark visual humor. The late 90s and early 00s was a period when cinema was experiencing a new breath, with Tarantino, Fincher, Smith, Rodriguez and many others, including of course Guy Ritchie. You could call it a new breath because young and ambitious directors were not afraid to speak out through their cinema: their language was rebellious and clearly spoke with a pop culture accent, just in the form of film references for some, comic book references for others, and music for others. So Guy Ritchie was one of those who brought the spirit of the MTV generation to the cinema screens with all the tricks in the form of ripping and fast-paced editing. With these tools, Ritchie could be said to have shaken up an entire genre of crime cinema. Of course, this statement may seem too loud, especially against the background of such masters of gangster cinema as Martin Scorsese, Brian De Palma and Francis Ford Coppola, but one cannot deny the fact that it was Ritchie's inimitable style that wrote him into the history of cinema. Clip editing As we have already established, when Guy Ritchie came to film Guy Ritchie turned to techniques and tricks understandable to the MTV generation. The numerous techniques used by Ritchie can be grouped into one category called "clip editing". However, if you look at his work objectively, the term decomposes into many: rough, jagged editing, stills, accelerated and slowed down shots, various kinds of zooming, multiple exposures... Looking at all these components, it becomes clear how much of a montage Guy Ritchie is - at least he was so at the beginning of his career. Ritchie's images are overloaded with effects, and the shots shift so violently at times that it's hard to call it order. However littered you might think Guy Ritchie's picture is, there's no denying that it's pure style. Ritchie's true uniqueness lies in the fact that his early films are solidly counter-cultural, where every element is deliberately done wrong. Consider the first and one of the most important films of Ritchie's career "Lock, Stock and Two Smoking Barrels". Firstly, what makes Guy Ritchie's style unique is the importance he attaches to the locations of his films: London, or rather its suburbs, backwater bars and clubs. Secondly, Ritchie's characters are outright losers: a street-jobber, an almost beggarly poker player, etc. Paradoxically, Ritchie shoves them all into crime plots, where they and their ideas look even more absurd and ridiculous. And this is where his humour is born. Ritchie both mocks the underdogs and sides with them, you know, because they're his main characters. As a counterbalance to the underdogs, Ritchie contrasts the stereotypical crime bosses who only want money and are bad because they're just bad. This formula was a staple of the director's first films "Lock, Stock and Two Smoking Barrels" and "Snatch". However, all of the above is not to say that his filmmaking is all counterculture. If you go back to the video from "Lock, Stock and Two Smoking Barrels" that we have attached above, you will find that all the techniques are used to the point. This montage perfectly captures the excitement of the game of poker. Guy Ritchie is not a spontaneous director, he can only appear to be. Clip editing was as quickly bored as it became fashionable. So in time, Guy Ritchie abandoned such "vertigo" editing. Already in the "Revolver" you can only see echoes of this style. We don't think this is a disadvantage, on the contrary, Ritchie has spent his career growing as a director, and this has been reflected in the fact that his techniques have become more relaxed. But Guy Ritchie wouldn't be himself if he didn't even break his own rules. So we can still enjoy his old style in the brilliantly choreographed brawls from "Sherlock Holmes". Amongst other things, Guy Ritchie also resorts to the use of parallel editing and poly-screening. The first method helps to build semantic associations: when two different shots are edited together, a whole new meaning is born. A perfect example of Ritchie's parallel editing can be seen in the "Snatch". Ritchie uses the second technique, polyscreen, to fit fragments of different events from time and space onto a single screen. Cinematography in Guy Ritchie's films However, if you watch the video, you'll see that Ritchie is still faithful to his old editing method at moments. The interesting thing here is that his editing is less about effects and more about camera dynamics. Therefore Ritchie shoots using the Dutch angle, sharp angles from above and below, subjective perspective (shots from the lua franca of one of the characters or from the face of the subject), and lots of close-ups. If you pay attention, Ritchie has become more montage-like in his later films. For example, in "The Man from U.N.C.L.E." he often uses classic montage transitions: editing on the motion, editing plans by all laws: detailed planes interspersed with close-ups and more medium. In general, the camerawork in Guy Ritchie's films creates dynamic spaces. This can be either with the camera tilted to the side or the use of wide-angle optics. Either way, they create interesting, dynamic, shots. For example, the wide-angle optics deforms the geometry of the frame, stretching out the lines, which creates this effect. Storytelling I realise that everything we've dealt with before is also storytelling in one way or another, but we'd like to focus here on Guy Ritchie's scripted tropes. First and most importantly, his films are often linear, but have multiple subplots that only add up to a clear picture in the finale. For example,"Lock, Stock and Two Smoking Barrels", "Revolver" and "Snatch" have so many flashbacks and flash-forwards that the final of the film is not clear until the very end - we are left to guess. Twisting and jumbling multiple storylines is as much a hallmark of Guy Ritchie's directorial style as it is clip editing. For all these non-linear techniques, Ritchie's films are remarkably straightforward: they go from point A to point B, merely diluting the stories with lightning-fast flash-forwards and flashbacks along the way. In addition, his films are not without voice-over narration. It's a technique that's already hard to imagine the crime drama genre without, so he makes extensive use of it in many of his films. This method has a special function in Ritchie's films - to guide the viewer through confusing plots and events. A great example of this is again seen in "Sherlock Holmes: A Game of Shadows". However, it would be unfair not to note that in the early films Guy Ritchie himself wrote the scripts for his films and therefore the dialogues in them are short and succinct. Characters speak only on the point and do not shy away from slang and profanity. Ritchie attached great importance to this style of dialogues because they sound particularly colourful. Music I think the music is exactly what should speak for itself. Guy Ritchie came out of clip-making, so you have to understand that the music in his films is never incidental, even though it often directly tells what's on screen. Each film is packed with 10 to 20 very diverse tracks, some of which have become iconic, like "I wanna be your dog" by The Stooges or "Spooky" by Dusty Springfield. Again, let the music speak for itself. Now you can go watch his movies In conclusion, run along and see a Guy Ritchie movie if you haven't seen any of his films yet. It will definitely lift your spirits and entice you with its intriguing tricks and techniques. Plus, it's just a cool movie from an already iconic director. Ritchie is a very montage-oriented director and he focuses on post-production in many of his projects, which is reflected in his signature style.
28270	yago	0	94	https://www.tomsguide.com/news/netflix-is-getting-a-new-crime-drama-from-guy-ritchie-and-the-first-trailer-just-dropped	en	Netflix is getting a new crime drama from Guy Ritchie — and the first trailer just dropped	https://cdn.mos.cms.futu…SPzN-1200-80.jpg	https://cdn.mos.cms.futu…SPzN-1200-80.jpg	[ "https://vanilla.futurecdn.net/tomsguide/media/shared/img/flags/nosize/US.svg", "https://vanilla.futurecdn.net/tomsguide/media/shared/img/flags/nosize/AU.svg", "https://vanilla.futurecdn.net/tomsguide/media/shared/img/flags/nosize/GB.svg", "https://vanilla.futurecdn.net/tomsguide/media/shared/img/flags/nosize/US.svg", "https://vanilla.futurecdn.net/tomsguide/media/shared/img/flags/nosize/CA.svg", "https://mos.fie.futurecdn.net/logos/models/hlwce5dqzq4wsnmg-16040076574048.jpeg", "https://cdn.mos.cms.futurecdn.net/xMXfqaV6Ui5czAqj7SSPzN-320-80.jpg", "https://i5.walmartimages.com/asr/58a2aa56-6da1-482b-bb24-8dd10e52dfb8.0c9c53ac7e2b7486c657aad388ad6849.jpeg?odnHeight=450&odnWidth=450&odnBg=ffffff", "https://images.fie.futurecdn.net/logos/merchants/kg7rxut4dskeqa3e-15622498507436-100-80.png", "https://images.fie.futurecdn.net/products/64f3d5927c201eacf6f83ae5dde0fda0b1ca6711-100-80.jpg", "https://images.fie.futurecdn.net/logos/merchants/amazon-us-15006529670367-100-80.png", "https://search-api.fie.futurecdn.net/img/misc/prime.png", "https://images.fie.futurecdn.net/products/838615102a1ddc47702d1b1ce68da9eee4a2fb12-100-80.jpg", "https://images.fie.futurecdn.net/logos/merchants/ns2bwjiwdvqv2pfx-16049184768113-100-80.png", "https://vanilla.futurecdn.net/cyclingnews/media/img/missing-image.svg", "https://vanilla.futurecdn.net/cyclingnews/media/img/missing-image.svg", "https://vanilla.futurecdn.net/cyclingnews/media/img/missing-image.svg", "https://vanilla.futurecdn.net/cyclingnews/media/img/missing-image.svg", "https://vanilla.futurecdn.net/cyclingnews/media/img/missing-image.svg", "https://vanilla.futurecdn.net/cyclingnews/media/img/missing-image.svg", "https://vanilla.futurecdn.net/cyclingnews/media/img/missing-image.svg", "https://vanilla.futurecdn.net/cyclingnews/media/img/missing-image.svg", "https://vanilla.futurecdn.net/cyclingnews/media/img/missing-image.svg", "https://vanilla.futurecdn.net/cyclingnews/media/img/missing-image.svg", "https://vanilla.futurecdn.net/cyclingnews/media/img/missing-image.svg", "https://vanilla.futurecdn.net/cyclingnews/media/img/missing-image.svg", "https://vanilla.futurecdn.net/cyclingnews/media/img/missing-image.svg", "https://vanilla.futurecdn.net/cyclingnews/media/img/missing-image.svg", "https://vanilla.futurecdn.net/cyclingnews/media/img/missing-image.svg", "https://vanilla.futurecdn.net/cyclingnews/media/img/missing-image.svg", "https://sb.scorecardresearch.com/p/?c1=2&c2=10055482&cv=4.4.0&cj=1" ]	[]	[]	[ "" ]	null	[ "Rory Mellon" ]	2024-01-16T12:38:18+00:00	Guy Ritchie is bringing the world of his 2020 movie The Gentlemen to Netflix — and here's your first look at this new series.	en	https://vanilla.futurecd…e-touch-icon.png	Tom's Guide	https://www.tomsguide.com/news/netflix-is-getting-a-new-crime-drama-from-guy-ritchie-and-the-first-trailer-just-dropped	Acclaimed director Guy Ritchie, most known for his British gangster movies and the two Robert Downey Jr.-fronted Sherlock Holmes films, is heading to Netflix with a new series inspired by his 2020 flick, The Gentlemen. The show of the same name won’t feature any of the movie’s original cast, but it will be similar in tone, as well as also focusing on the illegal drug trade. The series will be led by Theo James, who you might recognize from The White Lotus season 2. James will play Eddie Horniman, the estranged son of an English aristocrat, who inherits his father's significant estate, only to discover it’s built on the foundations of a vast criminal operation. Eddie must adapt quickly as he finds himself embroiled in London’s underworld with major players vying for a piece of the family’s empire. These unsavory parties include Bobby Glass (Ray Winstone), and his ruthless daughter, Susie Glass (Kaya Scodelario). At first, the fish-out-of-water attempts to sever ties with these illicit actors and clean up the business, but Eddie develops an unexpected taste for the criminal world and is drawn further into a ruthless world of crime and power. The drama series will also star Daniel Ings, Joely Richardson, Vinnie Jones, Chanel Cresswell and, Breaking Bad/Better Call Saul alumni, Giancarlo Esposito. While he's not the sole creative involved, Ritchie’s fingerprints will be all over the show as he’s operating as creator, co-writer and executive producer. Plus, he’s personally directed the first two episodes of The Gentlemen. You can watch the first trailer above, but be warned it's merely a short teaser rather than a full preview. However, it still functions as an appropriate mood setter and suggests The Gentlemen TV show will be similar in tone and narrative to its full-feature counterpart. As of now, the 2020 movie isn’t available on any of the best streaming services, but you can rent or buy it on Amazon, and there’s always the possibility it’ll arrive on Netflix in the lead-up to the spin-off show’s premiere, which is scheduled for March. More from Tom's Guide
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]	[ "https://www.youtube.com/embed/wyEOwHrpZH4?feature=oembed", "https://embed.podcasts.apple.com/il/podcast/ep308-the-cinematography-of-the-gentlemen/id1218033819?i=1000660160953", "https://www.youtube.com/embed/GCUY0rBk5Gw?feature=oembed", "https://www.youtube.com/embed/fUS-K05Z4lU?feature=oembed", "https://www.youtube.com/embed/c5SBZB8LJFk?feature=oembed", "https://www.youtube.com/embed/t9DvddGbXxo?feature=oembed", "https://www.youtube.com/embed/M1jLozqdMcA?feature=oembed", "https://www.youtube.com/embed/gnpfKsqeMrM?feature=oembed" ]	[]	[ "" ]	null	[ "Adrian Pennington" ]	2024-04-10T04:32:26+00:00	Cinematographer Callan Green describes lensing the action-comedy crime series “The Gentlemen,” breaking down how he captured a pivotal scene.	en	https://amplify.nabshow.….brand_.png?w=32	NAB Amplify	https://amplify.nabshow.com/articles/create-cinematography-the-gentlemen/	Guy Ritchie’s signature crime caper genre wouldn’t be complete without some boxing, and scenes in Episode 6 of his Netflix series The Gentlemen presented one of the biggest challenges for the camera team on the show. The location was a venue called The Magazine, that overlooks Canary Wharf in London. “It looks awesome but it is also just an event space with massive windows that we had to turn into a big boxing arena using a 360° lighting rig,” says DP Callan Green, ACS, NZCS, who shot this and three other episodes. The New Zealand-born filmmaker is now established as a main unit DP, having begun his career as a clapper loader and assistant camera on Peter Jackson’s Lord of the Rings trilogy. “I like to backlight or sidelight boxing scenes as much as possible but what made it tricky here was that we wanted to get our fight camera operator right in amongst the action on a 21mm wide lens,” he tells NAB Amplify. “With the actors dancing around inside the ring it seemed almost impossible to keep the lighting looking good and consistent unless there was some way of rotating the percentage of the values of the LED backlight as the boxers move around in relation to where the camera is.” The idea struck Green just a day before the lights were to be rigged, but gaffer Jack Powell and desk operator Charlie Stallard weren’t fazed. They pixel mapped the moving lights around the ring and established the best lighting levels for the fighters. They created a grey scale blend in photoshop to overlay the pixels. “This Photoshop image would then rotate over the pixel map itself which created the smoothest possible dimming whilst rotating the light levels during the fight,” says Green. There were nearly 2,500 instances and pixels within the lamps reacting to the change in position of the fighters. “This gave us the ability to continuously rotate as the fighters did for several rotations.” Virtual masks were added within the levels around the ring to counteract any camera shadow. The opposing sides of the venue were lit symmetrically for aesthetics and ensured all the lights had full-color control. Around 500 lights were rigged in total, including a truss rig directly above fighters that was the same size as the boxing ring and had three separate fixtures totaling 140 lamps. “Impression X4 Bars were used to give a general ring backlight and ambience as the boxers moved around,” Powell explains. “Robe MegaPointes were deployed for the cage feel for the ring entrance and Fusion X-Par 12 to push lights out to the crowd during the fight. The trusses above the crowd had a mixture of P5 wash lights to augment the ambience. Ayrton Perseo wash lights enabled background interactive lighting. “For the ring walk we went with Chauvet Strike 4 for the background and Impression X4 on the floor, then we programmed different effects and colors to suit individual ring walks,” Powell adds. A set of Robe Spiiders backlit the boxers in the ring from around the stage edges. They created a program to track the backlight and kill the frontlight as the fighters moved around the ring. “We also added MegaPointes on the perimeter to allow us to flair the lens on the ring walks whenever we suited,” Green says. “That was our biggest set to manage lighting wise as we only had a short window to rig the location. We had four days total in and out, using two rigging crews over two days, and then a pre-light day with 20 sparks and 12 riggers. Plus a derig. This was a military operation led by Farrow and installed in 24 hours.” Inspired by the director’s 2019 movie of the same name, featuring a new cast of characters, The Gentlemen is set in the same heightened and often hilarious world of aristocrats and gangsters; one with the breeding and the birthright, the other with the brawn and the belligerence. Although mostly real-life backdrops, the production also used Alperton Studios to create some interiors — including a council flat in Croydon, South London where Eddie (Theo James) gets physical with a goon. Lead DP Ed Wild had created a four-page pdf detailing the show’s look and feel. Green also got to watch early cuts of the first two episodes. “I was pretty scared, watching those, since the bar was set high,” he acknowledges. He watched Ritchie’s original film as well as Snatch and Lock Stock and Two Smoking Barrels, pulling out a few shots to “nod to” in the series. Sexy Beast, Rocky, Creed and Amelie were other cinematic reference points. “We were given quite a lot of scope to do what we wanted as long as we didn’t get too crazy,” he says. “I collected as many stills for reference as I could find that I felt resonated with the color and tone of what we were about to do.” The series is shot at 6K using a Sony VENICE camera equipped with Tokina Vista Primes, typically with a quarter-black satin filter, “which takes the edge off [the resolution sharpness] a little bit and gives the highlights a bit of halation.” Sony FX3s were also used to cut into the A camera and were placed on props like guns, whisky bottles, pigeon cages, and a traveler’s caravan. All episodes worked from one show LUT, which was versatile enough to work for night exteriors and day interiors. “When I first started working with it, it freaked me out a little because it was quite heavy and deep in the blacks and darker areas. That paid off in the long run because you had so much more information in post.” Following his experience shooting two episodes for director Eran Creevy, Green jumped at the chance to continue shooting Episodes 7 & 8 for director David Caffrey. “Having just come from Masters of the Air and gone on to work on Gangs of London Season 3, I feel very lucky to have had three awesome jobs in a row,” he says. Green grew up in a suburb outside of Wellington, NZ, and began taking stills when his mom bought him a camera. When his brother got into acting, his interest in filmmaking was sparked. In 1993 he helped shoot a commercial for a peanut butter brand “voted the year’s worst ad in New Zealand,” he smiles, but on set encountered an ARRI film camera for the first time. Asking the key grip how he could break into the industry the advice that came back was “A lot of hard work, mate.” Green studied photography at high school and following graduation got a job as a video split operator (now known as a VTR op). Shortly afterward he found himself part of the rapidly growing local filmmaking scene jumpstarted by Weta and LOTR. “Peter Jackson used to get me to clean his glasses for him. He was really lovely to me. He’s one of many people I’ve met along the way who took me under their wing.” He won a place at Sydney’s prestigious national film school, leaving in 2003 with a masters in arts and cinema and never looked back. Based in London since 2015, Green’s work has included second unit work on Christopher Robin, The Witcher, Fast F9 and Fast X, as well as on all nine episodes of Masters of the Air. He also recently served as DP on four episodes of the latest season of BBC crime drama Guilt.
28270	yago	0	57	https://jhmovie.fandom.com/wiki/Guy_Ritchie	en	Guy Ritchie	https://static.wikia.nocookie.net/jhmovie/images/e/e6/Site-logo.png/revision/latest?cb=20210722130510	https://static.wikia.nocookie.net/jhmovie/images/e/e6/Site-logo.png/revision/latest?cb=20210722130510	[ "https://static.wikia.nocookie.net/jhmovie/images/e/e6/Site-logo.png/revision/latest?cb=20210722130510", "https://static.wikia.nocookie.net/ff185fe4-8356-4b6b-ad48-621b95a82a1d", "https://static.wikia.nocookie.net/f3fc9271-3d5e-4c73-9afc-e6a9f6154ff1", "https://static.wikia.nocookie.net/464fc70a-5090-490b-b47e-0759e89c263f", "https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668" ]	[]	[]	[ "" ]	null	[ "Contributors to JH Wiki Collection Wiki" ]	2024-07-29T22:27:06+00:00	Guy Stuart Ritchie (born 10 September 1968)[1][2] is an English film director, film producer, screenwriter, and businessman, known for his British gangster films. He left secondary school and got entry-level jobs in the film industry in the mid-1990s. Ritchie eventually went on to direct...	en	https://static.wikia.nocookie.net/jhmovie/images/4/4a/Site-favicon.ico/revision/latest?cb=20240429013931	JH Wiki Collection Wiki	https://jhmovie.fandom.com/wiki/Guy_Ritchie	English filmmakerTemplate:SHORTDESC:English filmmaker Guy Stuart Ritchie (born 10 September 1968)[1][2] is an English film director, film producer, screenwriter, and businessman, known for his British gangster films. He left secondary school and got entry-level jobs in the film industry in the mid-1990s. Ritchie eventually went on to direct commercials. In 1995 he directed his first film, The Hard Case, a 20-minute short that impressed investors who backed his first feature film, the crime comedy Lock, Stock and Two Smoking Barrels (1998). He then directed another cockney crime comedy, Snatch (2000). Ritchie's other crime films include Revolver (2005) and RocknRolla (2008). His British set gangster films have featured emerging stars, such as Jason Statham, Idris Elba and Tom Hardy.[3] He then directed Sherlock Holmes (2009), its sequel Sherlock Holmes: A Game of Shadows (2011) and the live-action adaptation of Disney's Aladdin (2019). Early life[] Ritchie was born in Hatfield, Hertfordshire,[2] the second of two children of Amber (née Parkinson) and Captain John Vivian Ritchie (b. 1928), former Seaforth Highlanders serviceman and advertising executive. John's father was Major Stewart Ritchie, who died in France, in 1940, during World War II.[4] John's mother was Doris Margaretta McLaughlin (b. 1896), daughter of Vivian Guy McLaughlin (b. 1865) and Edith Martineau (b. 1866), the latter by whom he shares close common ancestors with Catherine, Duchess of Cambridge.[5] The McLaughlins have a pedigree going back to King Edward I of England.[6][7] Both Ritchie's parents remarried to prominent individuals. His father's second marriage was to Shireen Ritchie, Baroness Ritchie of Brompton, a former model and later Conservative politician and life peer.[8] From 1973 until 1980, when they divorced, Ritchie's mother was married to Sir Michael Leighton, 11th Baronet of Loton Park.[9] As a divorcée, she is correctly styled as Amber, Lady Leighton.[10] Ritchie, who is dyslexic, was expelled from Stanbridge Earls School at the age of 15.[2] He has claimed that drug use was the reason for the expulsion; his father has said that it was because his son was caught "cutting class and entertaining a girl in his room."[11] In addition to his elder sister Tabitha, a dance instructor, Ritchie has a half-brother, Kevin Baynton, who was born to Amber Parkinson when she was a teenager and given up for adoption.[12] Directing career[] In 1998, Ritchie contacted Peter Morton, of the Hard Rock Cafe chain, as a potential investor for a debut film. Morton's nephew, Matthew Vaughn, had been studying film production in Los Angeles. Peter informed Vaughn of Ritchie's new film idea, and Vaughn agreed to produce. Matthew, John, Guy and Peter asked their mutual acquaintance, Trudie Styler, to invest in the production of Ritchie's second film production following his 1995 short The Hard Case, which Styler had seen and decided that co-funding the project would be a worthwhile opportunity. The production of the film, Lock, Stock and Two Smoking Barrels, was completed in about eight months. Released in Great Britain in 1998 to positive reviews, it became an international success. It starred Nick Moran and also introduced actors Jason Statham, Jason Flemyng and Dexter Fletcher to worldwide audiences, while launching a new acting career for former footballer Vinnie Jones. Ritchie was introduced to Madonna, whom he would later wed, when the soundtrack for the film was issued on her Maverick Records label. In 2000 Ritchie won an Edgar Award from the Mystery Writers of America for Best Motion Picture Screenplay. Ritchie created and produced a spin-off television series called Lock, Stock....[13] Ritchie's second feature film, Snatch, was released in 2000. Originally known as Diamonds, it was another caper comedy, with a cast including Brad Pitt, Benicio del Toro and Dennis Farina, along with the returning Statham and Vinnie Jones. Similar to Lock, Stock and Two Smoking Barrels the film depicted events from different characters' perspectives: a device which became something of a trademark through many of the director's subsequent films. It has a rating of 73% on Rotten Tomatoes as of 2015.[14] Following his marriage to Madonna, Ritchie began focusing his filmmaking on his wife, directing her in both a music video (for the song "What It Feels Like for a Girl", a controversial video that showed Madonna engaging in violent behaviour, directed at men, including T-boning a car with three men in it, tasering and robbing a man at an ATM, scratching a police car and shooting two officers with a water gun, driving her car through a group of men playing street hockey and incinerating a man by throwing a lighter into a pool of gasoline) and a short film, Star, for the BMW films series. Ritchie's next film, also featuring Madonna, was a remake of the 1974 Lina Wertmüller hit Swept Away (also entitled Swept Away). Ritchie cast Madonna as a rich, rude socialite who, after a shipwreck, is trapped on a deserted island with a slovenly Communist sailor who humiliates her. Ritchie renamed the woman Amber Leighton after his mother. This film was both a critical and commercial disappointment.[15] In 2002, Ritchie conceived a hidden camera show called Swag,[16] for Channel Five in the UK, which turned the table on criminals and opportunists by using stunts to trap them in the act. His next project in 2005, a Vegas-themed heist film entitled Revolver starring Jason Statham, was critically panned in the US and UK.[17][18] In 2008, Ritchie wrote and directed RocknRolla, a more successful return to crime comedy form with an ensemble cast including Gerard Butler, Tom Wilkinson, Thandie Newton, Mark Strong, Idris Elba, Tom Hardy, and Toby Kebbell. It was generally received well with a 60% rating on Rotten Tomatoes.[19] He also directed in 2008 a commercial for Nike called "Take It To The Next Level", about a young Dutch footballer who signs for Arsenal, showing the progression of his career from his viewpoint, until he makes his debut for the Netherlands. The commercial features cameo appearances from some football players with music by Eagles of Death Metal.[20] Ritchie's Sherlock Holmes was released on 25 December 2009 with Robert Downey Jr. and Jude Law starring as Sir Arthur Conan Doyle's classic detective and his indispensable friend Dr. Watson in a distinctly comic action-oriented updating. The film received generally positive reviews[21] and grossed more than $520 million worldwide,[22].[23] The sequel, Sherlock Holmes: A Game of Shadows, was released on 16 December 2011 and earned an even higher worldwide box office of over $545 million.[24] In June 2012, it was announced that Ritchie would direct an adaptation of Treasure Island by Robert Louis Stevenson.[25] On 29 October that year, he produced a game trailer for Call of Duty: Black Ops II.[26] Ritchie directed Warner Bros.' The Man From U.N.C.L.E.[27] as a fairly radical remake of the popular 1960s spy TV series. Filmed in 2013 in London and Italy,[28][29] the film was not released until August 2015.[30] In January 2014, Warner Bros. set Ritchie to direct King Arthur: Legend of the Sword[31] with Charlie Hunnam playing King Arthur by Ritchie's choice.[32] Initially scheduled to be the first of several in a franchise, the film was released in May 2017 but was a box office bomb, so the sequels were cancelled.[33] The Raindance Film Festival announced in August 2017 that it would honour Ritchie with its 2nd annual Auteur Award, describing him as a "prominent figure" who breathed "new life into the British film industry" with his "cult crime comedies."[34] Most recently, Ritchie directed Disney's live action adaptation of Aladdin (2019), which he co-wrote with John August. Starring Will Smith, Mena Massoud and Naomi Scott, the film became Ritchie's most successful film financially.[35] Personal life[] Ritchie started training in Shotokan karate at the age of seven at the Budokwai in London, where he later achieved a black belt in both Shotokan and Judo.[36] He also has a black belt in Brazilian Jiu-Jitsu under Renzo Gracie.[37] On 18 May 2000, Ritchie was arrested by the police for an alleged assault on a 20-year-old man outside the Kensington home he shared with American singer Madonna, on suspicion of causing actual bodily harm.[38] On 22 December 2000, Ritchie married Madonna at Skibo Castle in Scotland.[39] They have a son, Rocco John Ritchie (born 11 August 2000 in Los Angeles) and adopted a Malawian baby boy in 2006, David (born 24 September 2005). Madonna eventually filed for divorce from Ritchie in October 2008, citing irreconcilable differences.[40] On 15 December 2008, Madonna's spokeswoman announced that the singer had agreed to a divorce settlement with Ritchie, the terms of which grant him between £50–60 million ($Template:To USD–Template:To USD million), a figure that includes the value of the couple's London pub and Wiltshire estate in England. This would be one of the largest divorce settlements in British history. [41] Madonna and Ritchie issued a joint statement calling the previous announcement "misleading and inaccurate." The financial details of the settlement remained private.[42] Their marriage was dissolved by District Judge Reid by decree nisi at the clinical Principal Registry of the Family Division in High Holborn, London. Madonna and Ritchie entered into a custody agreement for Rocco and David, then aged eight and three, respectively, and divided the children's time between Ritchie's London home and Madonna's in New York, where the two were joined by her daughter Lourdes, from a previous relationship.[43][44] In February 2011, a £6m house he owns in London's Fitzrovia was occupied briefly by members of The Really Free School, a squatter organisation.[45][46] On 30 July 2015, Ritchie married model Jacqui Ainsley, whom he had been dating since 2010.[47] They have three children: son Rafael (born 5 September 2011),[48] daughter Rivka, (born 29 November 2012)[2] and son Levi (born 8 June 2014).[47] Ritchie can speak Hebrew.[49] Filmography[] Year Film Director Writer Producer Notes 1995 The Hard Case Yes Yes No Short film 1998 Lock, Stock and Two Smoking Barrels Yes Yes No Also casting director 2000 Snatch Yes Yes No 2001 Star Yes Yes No Segment from the BMW short film series The Hire, Co-written with Joe Sweet 2002 Swept Away Yes Yes No Golden Raspberry Award for Worst Director Nominated – Golden Raspberry Award for Worst Screenplay 2005 Revolver Yes Yes No 2008 RocknRolla Yes Yes Yes 2009 Sherlock Holmes Yes No No Nominated – Saturn Award for Best Director 2011 Sherlock Holmes: A Game of Shadows Yes No No 2015 The Man from U.N.C.L.E. Yes Yes Yes 2017 King Arthur: Legend of the Sword Yes Yes Yes 2017 Thumbelina Yes Yes No 2019 Aladdin Yes Yes No TBA The Gentlemen Yes Yes Yes Post-production Uncredited cameos[] Year Film Role 2000 Snatch Man Reading Newspaper 2008 RocknRolla Man riding bicycle 2017 King Arthur: Legend of the Sword Inn Owner References[] [] Script error: No such module "Side box". Template:Twitter Guy Ritchie at IMDb Guy Ritchie Films directed Lock, Stock and Two Smoking Barrels (1998) • Snatch (2000) • Swept Away (2002) • Revolver (2005) • RocknRolla (2008) • Sherlock Holmes (2009) • Sherlock Holmes: A Game of Shadows (2011) • The Man from U.N.C.L.E. (2015) • King Arthur: Legend of the Sword (2017) • Aladdin (2019) • The Gentlemen (2019) • Wrath of Man (2021) • Operation Fortune: Ruse de Guerre (2023) • Guy Ritchie's The Covenant (2023) • The Ministry of Ungentlemanly Warfare (film) (2024) Films Producer RocknRolla (2008) • The Man from U.N.C.L.E. (2015) • King Arthur: Legend of the Sword (2017) • The Gentlemen (2019) • Wrath of Man (2021) • Operation Fortune: Ruse de Guerre (2023) • Guy Ritchie's The Covenant (2023) • The Ministry of Ungentlemanly Warfare (film) (2024) Films screenwriter Lock, Stock and Two Smoking Barrels (1998) • Snatch (2000) • Swept Away (2002) • Revolver (2005) • RocknRolla (2008) • The Man from U.N.C.L.E. (2015) • King Arthur: Legend of the Sword (2017) • Aladdin (2019) • The Gentlemen (2019) • Wrath of Man (2021) • Operation Fortune: Ruse de Guerre (2023) • Guy Ritchie's The Covenant (2023) • The Ministry of Ungentlemanly Warfare (film) (2024)
28270	yago	2	58	https://sg.news.yahoo.com/guy-ritchie-set-direct-young-164200009.html	en	Guy Ritchie set to direct Young Sherlock show	https://s.yimg.com/ny/api/res/1.2/hSaR4k_fRmQVpIy43.tGUg--/YXBwaWQ9aGlnaGxhbmRlcjt3PTEyMDA7aD02MDM-/https://media.zenfs.com/en/digital_spy_281/529216f0e5cfcb1ba466472c547a1278	https://s.yimg.com/ny/api/res/1.2/hSaR4k_fRmQVpIy43.tGUg--/YXBwaWQ9aGlnaGxhbmRlcjt3PTEyMDA7aD02MDM-/https://media.zenfs.com/en/digital_spy_281/529216f0e5cfcb1ba466472c547a1278	[ "https://sg.news.yahoo.com/_td_api/beacon/info?beaconType=noJSenabled&bucket=news-SG-en-SG-def%2Cseamless&code=pageRender&device=desktop&lang=en-SG&pageName=deeplink&region=SG&rid=1njskppjci46j&site=news&t=1724453075423", "https://s.yimg.com/rz/stage/p/yahoo_news_en-US_h_p_newsv2.png", "https://s.yimg.com/rz/stage/p/yahoo_news_en-US_h_p_newsv2.png", "https://s.yimg.com/ny/api/res/1.2/xzDgaHF4Avz29Rc28ULIzw--/YXBwaWQ9aGlnaGxhbmRlcjt3PTE3ODtoPTYw/https://s.yimg.com/os/creatr-uploaded-images/2020-12/a38c8cf0-33fa-11eb-b7ce-39f52f3fe0ae", "https://s.yimg.com/ny/api/res/1.2/oxwh4VKv9TBhKwQlxp.jOw--/YXBwaWQ9aGlnaGxhbmRlcjt3PTk2MDtoPTEzMzQ-/https://media.zenfs.com/en/digital_spy_281/9a35ba231e2efebc82c911fae45fad2c", "https://s.yimg.com/ny/api/res/1.2/oxwh4VKv9TBhKwQlxp.jOw--/YXBwaWQ9aGlnaGxhbmRlcjt3PTk2MDtoPTEzMzQ-/https://media.zenfs.com/en/digital_spy_281/9a35ba231e2efebc82c911fae45fad2c", "https://s.yimg.com/ny/api/res/1.2/5kGPiNp7Wj2AUdrC6V0qVg--/YXBwaWQ9aGlnaGxhbmRlcjt3PTk2MDtoPTE0NDA-/https://media.zenfs.com/en/digital_spy_281/759545c35aac1038d39ff3fd70f2b0ae", "https://s.yimg.com/ny/api/res/1.2/5kGPiNp7Wj2AUdrC6V0qVg--/YXBwaWQ9aGlnaGxhbmRlcjt3PTk2MDtoPTE0NDA-/https://media.zenfs.com/en/digital_spy_281/759545c35aac1038d39ff3fd70f2b0ae", "https://s.yimg.com/g/images/spaceball.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://s.yimg.com/cv/apiv2/default/20190501/placeholder.gif", "https://sb.scorecardresearch.com/p?c1=2&c2=7241469&c5=1197793589&c7=https%3A%2F%2Fsg.news.yahoo.com%2Fguy-ritchie-set-direct-young-164200009.html&c14=-1" ]	[]	[]	[ "" ]	null	[ "Iona Rowan" ]	2024-06-02T16:42:00+00:00	Guy Ritchie is set to direct a new Young Sherlock show for Prime Video, starring After’s Hero Fiennes Tiffin in the titular role.	en	https://s.yimg.com/rz/l/favicon.ico	Yahoo News	https://www.digitalspy.com/tv/a60972096/guy-ritchie-young-sherlock-show/	Guy Ritchie is set to direct a new Young Sherlock show for Prime Video, starring After's Hero Fiennes Tiffin in the titular role. The eight-part series, based on Andy Lane’s Young Sherlock Holmes novels, will serve as an "explosive" origin story for Sir Arthur Conan Doyle’s iconic detective (via RadioTimes). "Sherlock Holmes is disgraced, raw, unfiltered and unformed when he is caught up in a murder mystery at Oxford University which threatens his freedom," reads the official synopsis. Related: Ray Donovan gets new spin-off show from Guy Ritchie "Diving into his first-ever case with a wild lack of discipline, Sherlock manages to unravel a globe-trotting conspiracy that will change his life forever." Matthew Parkhill will write the script, as well as executive producing the series along with Ritchie, Simon Kelton, Ivan Atkinson, Simon Maxwell, Dhana Gilbert, Colin Wilson and Marc Resteghini. "In Young Sherlock, we're going to see an exhilarating new version of the detective everyone thinks they know in a way they've never imagined before," Ritchie said in a statement. "We're going to crack open this enigmatic character, find out what makes him tick, and learn how he becomes the genius we all love." Related: John Krasinski and Natalie Portman team up for Guy Ritchie's new movie Vernon Sanders, head of television at Amazon MGM Studios, added: "This exciting new chapter about one of the world's best-known literary characters will delight our global customers with its captivating storytelling. "With the brilliant creative team, led by Guy Ritchie and Matthew Parkhill, we will explore untold mysteries of how young Sherlock found his way to a life of truth-seeking." Young Sherlock marks a reunion between Ritchie and Tiffin, who recently worked together on Ritchie's action film The Ministry of Ungentlemanly Warfare. It also marks Ritchie’s return to the Sherlock universe, having previously directed two films starring Robert Downey Jr as the famous detective. Young Sherlock does not yet have a release date. You Might Also Like
28270	yago	3	14	https://www.warnerbros.com/	en	Home of WB Movies, TV, Games, and more!	https://www.warnerbros.com/assets/favicon.ico	https://www.warnerbros.com/assets/favicon.ico	[]	[]	[]	[ "" ]	null	[]	null	Home of Warner Bros Movies, TV Shows and Video Games including Harry Potter, DC Comics and more!	en	/assets/favicon.ico		https://www.warnerbros.com	Movies Horizon: An American Saga Chapter 2 Only In Theaters August 16, 2024 Movies Joker: Folie à Deux Only in Theaters 10.04.24 Movies F1 Only In Theaters June 27, 2025 Movies Aquaman And The Lost Kingdom Own on Digital Now Movies Wonka Own on Digital Now Movies The Color Purple Own Now on Digital Movies Meg 2: The Trench Own on Digital and 4K Ultra HD Movies Evil Dead Rise Own Now on Digital Movies DC League of Super-Pets Own Now on Digital Movies The Batman Own Now / Stream on HBO Max Movies Malignant Early Access. Own Now on Digital. Pre-order on Disc. Movies Godzilla vs. Kong Own it Now on Digital and 4K Ultra HD™ Movies Tenet Own It Today on 4K Ultra HD, Blu-Ray™ and Digital
28270	yago	2	97	https://uproxx.com/tv/the-gentlemen-netflix-show-guy-ritchie-movie/	en	How Is Netflix’s ‘The Gentlemen’ Tied To Guy Ritchie’s Movie?	https://uproxx.com/wp-co…52fb2a.jpg?w=648	https://uproxx.com/wp-co…52fb2a.jpg?w=648	[ "https://uproxx.com/wp-content/themes/uproxx/assets/images/logo.svg?v=1.1.72", "https://uproxx.com/wp-content/uploads/2024/08/post_malone_rapper710x400.jpg?w=241&h=136&crop=1", "https://uproxx.com/wp-content/uploads/2024/08/shaboozy_chappell_roan710x400.jpg?w=241&h=136&crop=1", "https://uproxx.com/wp-content/uploads/2024/08/j_balvin710x400.jpg?w=241&h=136&crop=1", "https://uproxx.com/wp-content/uploads/2024/08/cailee-spaeny-710x400-1.jpg?w=241&h=136&crop=1", "https://uproxx.com/wp-content/uploads/2024/08/industry710x400.jpg?w=241&h=136&crop=1", "https://uproxx.com/wp-content/uploads/2024/07/mia_goth710x400.jpg?w=241&h=136&crop=1", "https://uproxx.com/wp-content/uploads/2023/05/will.i.am-launch-710x400-1-1.jpg?w=241&h=136&crop=1", "https://uproxx.com/wp-content/uploads/2021/10/jail-grid-uproxx.jpg?w=241&h=136&crop=1", "https://uproxx.com/wp-content/uploads/2022/05/Grid.jpg?w=241&h=136&crop=1", "https://uproxx.com/wp-content/uploads/2023/05/will-i-am-710x400-1.jpg?w=241&h=136&crop=1", "https://uproxx.com/wp-content/uploads/2024/04/benny_blanco_snacks710X400.jpg?w=241&h=136&crop=1", "https://uproxx.com/wp-content/uploads/2024/04/The-Best-Fast-Food-Cheeseburgers-Under-5710x400-1.jpg?w=241&h=136&crop=1", "https://uproxx.com/wp-content/uploads/2024/04/hot_list_travel_2024710x400.jpg?w=241&h=136&crop=1", "https://uproxx.com/wp-content/uploads/2024/04/SNX_rihanna710x400.jpg?w=241&h=136&crop=1", "https://uproxx.com/wp-content/uploads/2024/03/Whiskey_Row_Guide710x400.jpg?w=241&h=136&crop=1", "https://uproxx.com/wp-content/uploads/2024/08/Derrick-Henry_Anthony-Richardson_Caleb-Williams710x400.jpg?w=241&h=136&crop=1", "https://uproxx.com/wp-content/uploads/2024/08/will_lewis_n8710x400.jpg?w=241&h=136&crop=1", "https://uproxx.com/wp-content/uploads/2024/08/Erling-Haaland_Mo-Salah_Bukayo-Saka710x400.jpg?w=241&h=136&crop=1", "https://uproxx.com/wp-content/uploads/2024/03/bourbon_under_125710x400.jpeg?w=241&h=136&crop=1", "https://uproxx.com/wp-content/uploads/2024/03/scotch_under_125710x400.jpeg?w=241&h=136&crop=1", "https://uproxx.com/wp-content/uploads/2024/02/tart_gose710x400.jpg?w=241&h=136&crop=1", "https://uproxx.com/wp-content/uploads/2024/03/sxsw_takeover_Los_Siete_Misterios710x400.jpeg?w=241&h=136&crop=1", "https://uproxx.com/wp-content/uploads/2024/06/benny_blanco_cocktail710x400.jpg?w=241&h=136&crop=1", "https://uproxx.com/wp-content/uploads/2024/07/QUALCOMM_SNAPDRAGON_POWER_TO_MOVE_EP02_STILL_04-2.png?w=241&h=136&crop=1", "https://uproxx.com/wp-content/uploads/2024/05/Screenshot-2024-05-08-at-12.09.31 PM.png?w=241&h=136&crop=1", "https://uproxx.com/wp-content/uploads/2024/03/Josh-Levi-She-Keeps-Coming-UPROXX-Sessions.jpg?w=241&h=136&crop=1", "https://uproxx.com/wp-content/uploads/2024/02/gentlemen-netflix.jpg?w=1410&h=660&crop=1", "https://uproxx.com/wp-content/themes/uproxx/assets/images/section-icons/tv.png?v=1.1.72", "https://uproxx.com/wp-content/uploads/2015/05/kimberly-ricci.jpg?w=48", "https://uproxx.com/wp-content/uploads/2024/08/Tinashe-Coco-Jones-and-Mary-J-Blig710x400-1.jpg?w=328&h=185&crop=1", "https://uproxx.com/wp-content/themes/uproxx/assets/images/uproxx-circle.png?v=1.1.72", "https://uproxx.com/wp-content/uploads/2024/08/Toro-y-Moi-Adrianne-Lenker-and-Spoon710x400.jpg?w=328&h=185&crop=1", "https://uproxx.com/wp-content/themes/uproxx/assets/images/uproxx-circle.png?v=1.1.72", "https://uproxx.com/wp-content/uploads/2024/08/shawn-mendes-Beabadoobee-finneas710x400.jpg?w=328&h=185&crop=1", "https://uproxx.com/wp-content/themes/uproxx/assets/images/uproxx-circle.png?v=1.1.72", "https://uproxx.com/wp-content/uploads/2024/08/Chloe-Bailey-Ciara-and-Coco-Jones710x400.jpg?w=328&h=185&crop=1", "https://uproxx.com/wp-content/themes/uproxx/assets/images/uproxx-circle.png?v=1.1.72", "https://uproxx.com/wp-content/uploads/2024/08/bnm-710-1.jpg?w=328&h=185&crop=1", "https://uproxx.com/wp-content/themes/uproxx/assets/images/uproxx-circle.png?v=1.1.72", "https://uproxx.com/wp-content/uploads/2024/08/Latto-Megan-Thee-Stallion-and-Larry-June710x400.jpg?w=328&h=185&crop=1", "https://uproxx.com/wp-content/themes/uproxx/assets/images/uproxx-circle.png?v=1.1.72" ]	[]	[]	[ "entertainment", "home page", "tv", "guy ritchie", "netflix", "streaming", "the gentlemen" ]	null	[ "Kimberly Ricci", "Wongo Okon", "Grant Sharples", "Megan Armstrong", "Derrick Rossignol", "Aaron Williams", "Kimberly Ricci Film", "TV Editor" ]	2024-02-12T13:53:57-05:00	Guy Ritchie might have too many 'gentlemen'-titled projects. Here's what his Netflix series, 'The Gentlemen,' is all about.	en	https://uproxx.com/wp-co…ages/favicon.png	UPROXX	https://uproxx.com/tv/the-gentlemen-netflix-show-guy-ritchie-movie/	Guy Ritchie digs “gentlemen” and non-gentlemen alike. He will soon bring the world an action-packed, Nazi-killing movie, The Ministry of Ungentlemanly Warfare, starring Henry Cavill’s tongue and Alan Ritchson’s guns. In 2019, he also gave us Matthew McConaughey as a marijuana kingpin (Michael “Mickey” Pearson) in a little film called The Gentlemen (also starring Charlie Hunnam and Hugh Grant), and Madonna’s ex-husband also has a Netflix series called The Gentlemen coming to the streaming waves in March. Are these two projects that are both called The Gentlemen related? Yes, they are in the same world, but this series will revolve around a different story. Don’t worry, there is still a weed empire, which is essentially the same weed empire as the movie, involved here. Theo James will portray Eddie Horniman, whose aristocratic father bequeathed him an estate that helps to host Mickey Pearson’s, uh, fruits. From the Netflix description of the upcoming series: We meet Eddie Horniman as he inherits his father’s sizable estate… only to discover it’s part of a weed empire. Moreover, a host of unsavory elements of Britain’s criminal underworld want a piece of the operation. Determined to extricate his family from their clutches, Eddie tries to play the gangsters at their own game. However, as he gets sucked into the world of criminality, he begins to find a taste for it. Netflix’s The Gentlemen co-stars Ray Winstone, Kaya Scodelario, Vinnie Jones, Joely Richardson, Giancarlo Esposito, Chanel Cresswell, Michael Vu, Daniel Ings, Max Beesley, Dar Salim, Pearce Quigley, Ruby Sear, and Peter Serafinowicz. Netflix revealed some character posters, too. The Gentlemen series debuts on March 7.
28270	yago	2	78	https://www.independent.co.uk/arts-entertainment/tv/news/the-gentlemen-cast-netflix-guy-ritchie-b2524448.html	en	The Gentlemen: Netflix users issue same ‘complaint’ about Guy Ritchie series	https://static.independe…h=1200&auto=webp	https://static.independe…h=1200&auto=webp	[ "https://cdn.jwplayer.com/v2/media/HEmQ7M1F/poster.jpg?width=720", "https://static.independent.co.uk/static-assets/images/newsletter/breaking-news/breaking-news-thumb.png", "https://static.independent.co.uk/2024/03/20/12/newFile-5.jpg?quality=75&width=230&auto=webp", "https://static.independent.co.uk/2020/12/16/15/newFile-9.jpg?quality=75&width=230&auto=webp", "https://static.independent.co.uk/2024/03/07/15/Paul_Tyson_Boxing_70924.jpg?quality=75&width=230&auto=webp", "https://static.independent.co.uk/2024/03/20/14/newFile-6.jpg" ]	[]	[]	[ "The Gentlemen", "Netflix", "Guy Ritchie", "Theo James", "Internal" ]	null	[ "Jacob Stolworthy" ]	2024-04-08T06:49:52+00:00	Subscribers are praising new Guy Ritchie series – save for one key detail	en	/img/shortcut-icons/favicon.ico	The Independent	https://www.independent.co.uk/arts-entertainment/tv/news/the-gentlemen-cast-netflix-guy-ritchie-b2524448.html	Netflix users are issuing the same complaint about new series The Gentlemen. The series, based on Guy Ritchie’s 2019 film of the same name, has become the streaming service’s biggest hit of the year since being released last month. Ritchie has been praised for the show, which lasts for eight episodes, with most of the acclaim being heaped upon the lead performances by Theo James, Kaya Scodelario and Ray Winstone, who recently opened up about a rift he once had with Snatch filmmaker Ritchie in an interview with The Independent. In the series, James and Scodelario play Eddie Halstead and Susie Glass, who are thrust together after the former inherits land that’s been co-opted by a weed-growing empire run by Bobby Glass. Susie is the de factor head of the syndicate while Bobby is in prison. The pair’s burgeoning chemistry has been highlighted by viewers, with many enjoying the will they-won’t they aspect of their relationship. However, many were left frustrated by the fact that the pair never got together despite much anticipation. “I was anticipating it so much!” one viewer complained, with another adding: “I was hoping you two could at least hook-up or at the very least, kiss at the end! I guess, we will see that in season two.” One other Netflix user wrote on X/Twitter: “They really needed to seal that deal with a kiss! @netflix you have some splaining to do!”, while elsewhere, one person wrote: “Took my one mark off because all that sexual tension & chemistry between eddie & susie glass yet they didn’t even sneak a kiss in there?” Find more reactions below: Others have detected a brief moment in a flashback scene that has led fans to believe they have a history that hasn’t yet been addressed on the show, leading to calls for a season two so this can be explored. This moment occurs in a flashback scene in which a shot shows the pair dancing with their faces extremely close to one another, with many believing Ritchie was subtly hinting at a romantic history between them. “They definitely kissed that night,” one person said while sharing a screenshot of the scene. Another fan added: “They’re so sick for showing this scene for one second in a flashback like WHAT WAS THE REASON?” The Gentlemen is available to stream on Netflix now.
28270	yago	0	36	https://mad-eyes.net/movies/star.htm	en	Star - Short film in BMS series with Madonna, directed by Guy Ritchie	http://www.mad-eyes.net/movies/img/2001_star_poster.jpg	http://www.mad-eyes.net/movies/img/2001_star_poster.jpg	[ "http://c17.statcounter.com/counter.php?sc_project=1750388&java=0&security=63b8cbe4&invisible=1", "https://mad-eyes.net/img/logo_me.png", "https://mad-eyes.net/movies/img/2001_star_poster_l.jpg", "https://mad-eyes.net/movies/img/2001_star01_m.jpg", "https://mad-eyes.net/movies/img/2001_star02_m.jpg", "https://mad-eyes.net/movies/img/2001_star03_m.jpg", "https://mad-eyes.net/movies/img/2001_star04_m.jpg", "https://mad-eyes.net/movies/img/2001_star05_m.jpg", "https://mad-eyes.net/movies/img/2001_star06_m.jpg", "https://mad-eyes.net/img/item.png", "https://mad-eyes.net/img/item.png", "https://mad-eyes.net/img/item.png", "https://mad-eyes.net/img/item.png", "https://mad-eyes.net/img/item.png", "https://mad-eyes.net/img/item.png", "https://mad-eyes.net/img/item.png", "https://mad-eyes.net/img/item.png", "https://mad-eyes.net/img/item.png", "https://mad-eyes.net/img/item.png", "https://mad-eyes.net/img/item.png", "https://mad-eyes.net/img/item.png", "https://mad-eyes.net/img/item.png", "https://mad-eyes.net/img/item.png", "https://mad-eyes.net/img/item.png", "https://mad-eyes.net/img/item.png" ]	[]	[]	[ "" ]	null	[ "Bart Vanmaele" ]	null	Madonna and Clive Owen play in the shortfilm 'Star', part of the BMW series, directed by Guy Ritchie	en			http://www.mad-eyes.net/movies/star.htm	Movie info BMW Films asked Guy Ritchie to direct a short movie as part of The Hire. Guy cast his wife Madonna as 'the star', though she was not mentioned in the credits. Movie synopsis The Hire is a series of short movies, each in which the driver (Clive Owen) encounters some unexpected obstacles that put his abilities to the test. In Star, a superstar (Madonna) unexpectedly demands him to drive her to her venue. He calmly undergoes her humiliating behaviour, until he decides to take her demands a bit too literal... Production info Directed by: Guy Ritchie Written by: Guy Ritchie & Joe Sweet Produced by: Robyn Boardman, Nicole Dionne, David Fincher, Aristides McGarry, Tony McGarry Production company: BMW Films Release info Released as: Star (part of The Hire) Released online: June 2001 Runtime: 7 minutes Genre: Action/Comedy/Short Official site: BMW Films Trivia Several collaborators of this project were not new to working with Madonna: Toru Tanaka Jr., who plays the bodyguard, also appears as Oddjob in Madonna's Die Another Day video. Funnily, he is the son of Harold Sakata, who played the original role of Oddjob in 1964's Goldfinger. Sophia Crawford, who is Madonna's stunt double in Star, was also a stand-in during the fencing scenes in Die Another Day. Michael Beattie, here in the role of the manager Glen, plays Todd in Swept Away. Madonna's costume was designed by Arianne Philips, who made the Geisha outfit for the Drowned World Tour that same year. Awards 2001 Video Premiere Awards: Award for 'Best Internet Video Premiere' Soundtrack There is no official soundtrack for this shortfilm. Only two songs are used in it: Song 2 (Blur) and The Ride of the Valkyries (Richard Wagner)
28270	yago	3	0	https://en.wikipedia.org/wiki/The_Hire	en	Wikipedia	https://upload.wikimedia…h_%282001%29.jpg	https://upload.wikimedia…h_%282001%29.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8f/Hire_Ambush_%282001%29.jpg/220px-Hire_Ambush_%282001%29.jpg", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/16px-Symbol_category_class.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2003-12-23T04:51:03+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/The_Hire	Series of eight short films about BMW automobiles The HireDirected byWritten byProduced by Robyn Boardman Robert Van de Weteringe Buys Tapas Blank Tony McGarry Leon Corcos David Mitchell Nicole Dionne Pelayo Gutiérrez Aristides McGarry David Fincher Dave Morrison Ridley Scott Tony Scott Jules Daly Skip Chaisson David Davies Kimberly Jacobs-Toeg StarringNarrated byClive OwenCinematographyEdited by Robert Duffy Tim Squyres William Chang Tom Muldoon Luis Carballar Alejandro González Iñárritu Gabriel Rodríguez de la Mora Jeff Gullo Angus Wall John Gilroy Skip Chaisson Julian Clarke Austyn Daines Devin Mauer Music by Production companies Distributed byBMW Films Release date 2001–2016 Running time 64 minutes (total of all eight films)CountryUSALanguages English Portuguese Spanish Budget$9 million[2] The BMW film series The Hire consists of eight short films (averaging about ten minutes each) produced for the Internet in 2001 and 2002. A form of branded content, the shorts were directed by popular filmmakers from around the globe and starred Clive Owen as "the Driver" while highlighting the performance aspects of various BMW automobiles. The series made a comeback in 2016, fourteen years after its original run ended. Premise [edit] This series of short films center on a nameless protagonist, known as "The Driver" (Clive Owen), who is a highly-proficient professional driver of BMW automobiles. The plot of each film varies, but all involve the Driver being hired to perform tasks for various clients, typically to transport important individuals and/or cargo while evading pursuing antagonists. Summary [edit] Season 1 [edit] Ambush [edit] While escorting an elderly man in the middle of the night, the Driver is confronted by a van full of armed thieves and is told that the old man is carrying a large amount of diamonds. The old man claims to have swallowed the diamonds and that the men will likely cut him open to retrieve them. The Driver decides to save his client and attempts to evade the van while being shot at. The Driver eventually baits the thieves into dying in a collision with a parked bulldozer. The Driver delivers the old man to his destination and asks if he really swallowed the diamonds. The client merely chuckles and walks away before the Driver departs. Starring Tomas Milian Directed by John Frankenheimer Written by Andrew Kevin Walker Featured the BMW 740i[3] Chosen [edit] The Driver is hired to protect an Asian holy child who is brought to America by boat. The child gives the Driver a gift, but tells him not to open it yet. After being pursued by kidnappers and being grazed in the ear by a gunshot, he successfully delivers the boy to a waiting monk. However, the child signals silently to the Driver that the man is an imposter, indicated by his footwear, just visible under his robe. The impostor monk tries to kidnap the child, but the Driver thwarts him and rescues the boy. Before leaving, the Driver opens the gift, which is revealed to be an adhesive bandage for his bleeding ear. Starring Mason Lee Directed by Ang Lee Written by David Carter Featured the BMW 540i[3] The Follow [edit] Main article: The Hire: The Follow The Driver is hired by a nervous manager to spy on a paranoid actor's wife. The Driver narrates while following the wife, describing the right methods to survey someone, as well as his fear of what he might learn of the wife's tragic life. He eventually discovers the wife is fleeing the country to return to her mother in Brazil, and that she's been given a black eye—likely by her husband. The Driver returns the job's money to the manager, refuses to tell him where the wife is, and tells him to never call him again before driving off. Starring Forest Whitaker, Mickey Rourke, and Adriana Lima Directed by Wong Kar-wai Written by Andrew Kevin Walker Featured the BMW 328i Coupé and the Z3 roadster[1][3] Star [edit] The Driver is chosen by a spoiled and shallow celebrity to drive her to a venue. Unbeknownst to her, her manager has actually hired the Driver to teach the celebrity a lesson. Pretending to escape her pursuing bodyguards, the Driver drives recklessly through the city, tossing the hapless celebrity all around the backseat. They eventually arrive at the venue, where she is thrown out of the car and photographed by paparazzi in an embarrassing end on the red carpet. Starring Madonna Directed by Guy Ritchie Written by Joe Sweet and Guy Ritchie Featured the BMW M5 Powder Keg [edit] In a war-torn Latin-American country, war photographer Harvey Jacobs witnesses a massacre and is wounded trying to escape. The UN assigns the Driver to rescue Jacobs from hostile territory. Jacobs tells the Driver about the horrors he saw as a photographer, and his regrets for being unable to help any victims. He gives the Driver the film needed for a New York Times story and his dog tags, which are to be given to his mother. When they reach the border they are confronted by a guard, who becomes hostile when Jacobs is taking pictures and refuses to stop. The Driver drives through a hail of gunfire towards safety, but finds Jacobs has died in the escape. The Driver returns to America to visit Jacobs' mother, returning his dog tags and telling her that Jacobs had won the Pulitzer Prize. Starring Stellan Skarsgård and Lois Smith Directed by Alejandro González Iñárritu Written by Alejandro González Iñárritu, Guillermo Arriaga and David Carter Featured the BMW X5 3.0i Season 2 [edit] Hostage [edit] The Driver is hired by the Federal Bureau of Investigation to help defuse a hostage situation. A disgruntled employee has kidnapped a CEO and has hidden her, demanding $5,088,042 for her release. The Driver delivers the money, writing the sum on his hand as instructed by the hostage taker, and is then ordered to burn the money. As he complies, the federal agents break in and attempt to subdue the man, who shoots himself in the head without revealing the woman's location. The Driver surmises the ransom amount is actually the woman's cellphone number, and tracks her location to the trunk of a sinking car. The woman is rescued and brought to the hospital to confront the kidnapper. It is revealed that she and the kidnapper were actually lovers, and the woman coldly tells the kidnapper she only used him for sex before he dies. Starring Maury Chaykin and Kathryn Morris Directed by John Woo Written by David Carter, Greg Hahn and Vincent Ngo Featured the BMW Z4 3.0i Ticker [edit] In an unnamed foreign country, a man carrying a mysterious briefcase survives an ambush en route to his destination. The Driver rescues and escorts the man while under helicopter attack. During the chase, the briefcase is struck by a bullet, causing it to leak grey fluid and the number on its display to begin counting down. The Driver manages to cause the helicopter to crash, but refuses to proceed without knowing the contents of the damaged briefcase. It is revealed that the man guards a human heart that is to be transplanted into the nation's leader, who has brought peace and prosperity to the country for many years. Should he die, his heir will be a tyrannical army General, whose soldiers had been attempting to stop them the entire time. The Driver finally reaches a military base and brings the heart to waiting surgeons, who successfully save the leader from dying. The General tries to intervene, but realizes he has failed and decides to leave with his men. Starring Don Cheadle and F. Murray Abraham cameos by Ray Liotta, Robert Patrick, Clifton Powell and Dennis Haysbert as US agents Written and directed by Joe Carnahan Featured the BMW Z4 3.0i Beat the Devil [edit] The Driver is employed by James Brown, who goes to meet the Devil to re-negotiate the deal he made as a young man, in which he traded his soul for fame and fortune. James is worried about his aging and the fact he can no longer perform like he used to. To renew his contract, James proposes that they have a drag race on the Las Vegas Strip at dawn, wagering the Driver's soul for another 50 years of success. The race ends with the Driver swerving to pass a moving train, while the Devil's car (a flamed Pontiac Firebird) crashes and explodes. Having won the race, the Driver leaves James Brown in the desert, but as he drives away he sees him as a young man again. The final scene shows Marilyn Manson, who lives down the hall from the Devil, complaining that the noise is disturbing his Bible reading. Starring James Brown, Gary Oldman, and Danny Trejo Cameo by Marilyn Manson Directed by Tony Scott Written by David Carter, Greg Hahn and Vincent Ngo Featured the BMW Z4 3.0i "The Subplot Films" [edit] Four smaller movies, dubbed "The Subplot Movies" were shot and directed by Ben Younger. Lacking any real style (and appearing to be shot with a standard consumer-level DV-cam), they were designed to "fill in the gaps" between the five films and featured a man who appeared to be tracking the Driver, finding "clues" usually scribbled, in pen, on small pieces of paper. The films, at first glance, have no real connection to the Driver movies at all and made no real sense – they contained "clues" that were part of an alternate reality game that would lead intuitive fans to a party in Las Vegas, Nevada. Season 3 [edit] The Escape [edit] Main article: The Escape (2016 film) After the disappearance of geneticist Dr. Nora Phillips, the Molecular Genetics company's illegal activities in human cloning become exposed and the FBI raids the facility. One surviving specimen, Lily, is escorted by a ruthless mercenary named Holt to be delivered to an unknown client. The Driver is hired to transport the package with Holt accompanying him, along with an armed convoy of other mercenaries. When the Driver realizes that Lily possesses humanity, he forces Holt to get out of the car. The Driver thwarts Holt and his mercenaries in a pursuit and then drives the girl to a harbor, where she is happily reunited with Dr. Phillips—the unknown client that hired the Driver. Starring Jon Bernthal, Dakota Fanning, and Vera Farmiga Directed by Neill Blomkamp Written by Neill Blomkamp and David Carter Featured the BMW 5 Series (G30) Production [edit] BMW's idea for the series came from the fact that 85% of its customers shop online before purchasing their cars. If BMW could attract the right kind of traffic to their website, the type of person who enjoys art films from influential directors and actors, they could translate that into sales.[4] BMW stated that John Frankenheimer's film Ronin served as creative inspiration for The Hire series.[5] On April 26, 2001, John Frankenheimer's Ambush premiered on the BMW Films website and, two weeks later, was followed by Ang Lee's Chosen.[6] Soon after, director Wong Kar-Wai was tapped to make a third film entitled The Follow, a dramatic piece about a runaway wife being followed by "the Driver". The films debuted at the Cannes Film Festival and received mixed reviews, perhaps due to the films' purpose as advertising.[5] It was followed by Guy Ritchie's Star and Alejandro González Iñárritu's Powder Keg.[7][1] After the series began, BMW saw their 2001 sales increase 12% from the previous year. The movies were viewed over 11 million times in four months. Two million people registered with the website and a large majority of users, registered to the site, sent film links to their friends and family.[8][9] The series was originally created by members of famed indie New York City film studio – Shooting Gallery – such as CJ Follini, Paul Speaker, and Eamonn Bowles. The films were so popular that BMW produced a free DVD for customers who visited certain BMW dealerships. Due to demand, BMW ran out of DVDs. In September, BMW and Vanity Fair magazine collaborated to distribute a second DVD edition of The Hire in the magazine.[10][7] The Vanity Fair disc did not include Wong Kar-Wai's The Follow. Forest Whitaker had an uncredited part in The Follow and had only agreed to be in the film if it were shown exclusively on the Internet. When the movie was released on DVD, Whitaker allegedly exercised an option in his contract which stipulated that the movie would not be released in any other format without authorization from the actor himself. The Vanity Fair disc, in lieu of carrying The Follow, contained a link to the website with instructions to the viewer to watch the movie online.[11] The DVD was highly sought on Internet forums after the September 2001 issue of Vanity Fair quickly vanished from shelves and became a rare find. The movies were reviewed by Time Magazine and The New York Times, who praised BMW for creating entertaining content for "discerning movie watchers".[7] The series continued in October 2002, replacing producer David Fincher with Ridley and Tony Scott due to Fincher's continuing work on Panic Room. Season 2 debuted with a dark action/comedy piece by Tony Scott called Beat the Devil. The movie, shot in Scott's trademark pseudo-psychedelic style, featured James Brown enlisting the Driver to take him to Las Vegas to re-work a decades-old deal he made with the devil which evidently gave Brown his "fame and fortune".[12] Some differences were evident. Whereas the first season was serious and subdued with tiny bursts of action and comedy, the second season was all flash and fun. To fit this motif, John Woo and Joe Carnahan were hired to direct Hostage and Ticker, respectively. The other main difference was that, instead of showcasing several different BMW cars (like the first season had done), the only car showcased was the then-new BMW Z4 Roadster.[8] To celebrate the premiere of the second season, BMW threw a party at the ArcLight Hollywood on October 17, 2002, just a week before the film's internet debut. The party, co-hosted by Vanity Fair, was also a charity and benefit for the homeless.[13][14] A month after the premiere of Beat the Devil, DirecTV began airing the entire series in half-hour loops for five weeks, on one of the blank satellite channels the system offered. The films were a success and, as a result, DirecTV considered using blank channels to air other companies' ads.[15] In 2003, BMW decided to make a third (and final) DVD compilation of The Hire. The new DVD made its debut at The Palais des Festival during the 2003 Cannes Film Festival and contained all eight movies, including Wong Kar-Wai's previously absent The Follow.[11][7] Once again, the disc became available at select dealerships but fans could also obtain the disc for a nominal shipping fee via the BMW Films website. During the last quarter of 2004, Dark Horse Comics and BMW planned to publish a 6-issue comic book limited series based on the main character of the films. The books were written by Kurt Busiek, Bruce Campbell, Katsuhiro Otomo, and Mark Waid as well as other comic book talents.[16] Only four books were produced. "Tycoon" was the last book released (in December 2005). While the comics are still able to be purchased in collector shops and some comic book stores, they are no longer available for purchase on the BMW website. On October 21, 2005, BMW stopped distribution of The Hire on DVD and removed all eight films from the BMW Films website just four years after the first film debuted.[7] The series was abandoned, reportedly because the project had become too expensive. BMW's Vice President of Marketing James McDowell, originator of the BMW Films project, left BMW to become the VP of sales and marketing for BMW's "Mini USA" division. BMW also split from longtime ad partner Fallon Worldwide which was the creative production outlet for the series and BMW's German division had attempted to become involved with the US division of the company, cutting costs.[17] The series was viewed over 100 million times in four years and had changed the way products were advertised.[7] Copies of the DVD are still found in Internet shops and auction sites.[citation needed] The films themselves continue to appear on many torrent searches and viral video sites around the Internet.[citation needed] In early 2006, BMW released a line of free "BMW Audiobooks" to take advantage of the growing popularity of portable MP3 players (and the fact that most BMW's came with an iPod dock pre-installed in their vehicles). While the stories had the same pulp-action feel as The Hire, the character of "the Driver" was absent. The audiobooks were free (like the films that preceded them) but are no longer available for download from the BMW website.[18] On February 17, 2007, MINI (BMW) launched a new short film series called Hammer & Coop. The series is a comedic parody of 1970s action-television shows like Starsky & Hutch and Charlie's Angels, and showcases BMW's Mini Cooper line of cars as the featured product.[19] On September 20, 2016, it was reported that BMW Films has resurrected the series fourteen years after the original production wrapped, with Clive Owen returning to reprise his role as the Driver. The first episode was revealed to be titled The Escape, which premiered on October 23, 2016, on BMW Films' official website.[20] In 2023 BMW released The Calm, starring Pom Klementieff and Uma Thurman. Produced by Joseph Kosinski and directed by Sam Hargrave, the new film features the BMW i7 M70.[21] Contest/game & party [edit] Shortly after the release of the "Subplot Films", reports circulated around the Internet that Apple, Starbucks, BMW Films First Illinois Mortgage, and Susstones' all had a small, hidden link on their website that had a direct connection with the movies. Upon further investigation, three phone numbers and a web address were found in the four films, which led many viewers to call those numbers and go to that website. Thousands took to the web, taking place in the hunt but only 250 solved the puzzle, which allowed the lucky few to be entered in a drawing to win a 2003 BMW Z4, seen in Hostage. The final piece of the puzzle was a voicemail, instructing participants to meet with a correspondent in Las Vegas, the site of a VIP Party for BMW where the Grand Prize Z4 was given away to a couple from Bellingham, Washington.[22][23] The first prize was a BMW Q3.s mountain bike, awarded to a student from the University of New Hampshire. The game was designed and co-written by Mark Sandau and Russ Stark.[24][25] Influences [edit] Several companies attempted to capitalize on the success of BMW's film series. In 2002, the Nissan car company produced their own short film featuring their newly introduced 350Z. Entitled The Run, the film was directed by John Bruno, a James Cameron protege who worked with Cameron on True Lies, The Abyss, and Terminator 2: Judgment Day. The film was shown in theaters before feature films in November 2002. Nissan offered a DVD of the film for $9.95.[26] In 2004, Mercedes-Benz released The Porter, a 15-minute film by director Jan Wentz, starring Max Beesley and Bryan Ferry. A few years later, Bombardier Recreational Products company introduced a series of short movies on the Internet which showcased their "Sea-Doo" line of personal water craft (PWC)[27] while Covad Business also constructed a campy internet horror film based on their products called The Ringing with the intent of showcasing VoIP technology.[28] The Transporter was also based on The Hire film series as Luc Besson has said in interviews. In fact, many of the elements seen in The Hire were incorporated into The Transporter, right down to the BMW automobile.[29] Around the same time The Hire made its comeback in October 2016, the Ford Motor Company produced its very own short film, advertising their new car, the 2015 Ford Edge incorporated into a story, starring Mads Mikkelsen as the titular character in Le Fantôme, directed by Jake Scott, who co-produced the second season of The Hire.[30] References [edit] Further reading [edit] Fallon, Pat; Senn, Fred (2006). "Chapter Eight: Choosing the Best Media for the Message". Juicing the Orange: How to Turn Creativity into a Powerful Business Advantage. Boston, Mass.: Harvard Business School Press. pp. 125–146. ISBN 9781591399278. OCLC 62616016. Kiley, David (2004). Driven: Inside BMW, the Most Admired Car Company in the World. Hoboken, NJ: Wiley. pp. 140–150. ISBN 9780471269205. OCLC 249773457. BMW Films Archived June 25, 2007, at the Wayback Machine The Hire at the Internet Archive BMW films at Fallon The Hire at Dark Horse Comics Ambush at IMDb Chosen at IMDb The Follow at IMDb Star at IMDb Powder Keg at IMDb Hostage at IMDb Ticker at IMDb Beat the Devil at IMDb
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800w,https://ichef.bbci.co.uk/news/1024/cpsprodpb/a499/live/56176ab0-5fd6-11ef-b43e-6916dcba5cbf.jpg.webp 1024w,https://ichef.bbci.co.uk/news/1536/cpsprodpb/a499/live/56176ab0-5fd6-11ef-b43e-6916dcba5cbf.jpg.webp 1536w" ]	[]	[]	[ "" ]	null	[ "Steven McIntosh" ]	2024-03-06T13:08:02+00:00	Ray Winstone and Giancarlo Esposito are among the stars of a new TV adaptation of the 2019 film.	en	/bbcx/apple-touch-icon.png		https://www.bbc.com/news/entertainment-arts-68488859	Five years after The Gentlemen took audiences on a journey of mayhem and marijuana, director Guy Ritchie is returning for another crime caper. But this time, the titular gentlemen - along with quite a few ladies - are returning for an eight-part TV series. Ritchie said there were themes and storylines which were "worth exploring" further following the film. Critics have broadly welcomed the series, although some say Ritchie relies too much on his usual style. Empire said Ritchie "simply remixes his hit singles" for the series, with "more gangsters, more heists, infinitely more dialogue". But the Radio Times said that, in spite of its shortcomings, the series ultimately is "an absolute boat-load of fun". The 2019 film starred Matthew McConaughey, Colin Farrell and Hugh Grant - but none of them have returned to the franchise to appear in the TV series. Instead, Theo James takes the lead opposite supporting characters played by Vinnie Jones, Ray Winstone, Joely Richardson and Max Beesley. The series sees Eddie Halstead (played by James) inherit his wealthy father's country estate following his death, much to the fury of Eddie's pompous and drug-addicted elder brother Freddy. Eddie initially considers selling the house to a rich but mysterious buyer - played by Breaking Bad's Giancarlo Esposito - but decides against it when he finds the estate is partly being used to grow cannabis for an extremely successful underground drug empire. Speaking at the premiere on Tuesday, Ritchie said adapting the film into a TV series "actually turned out to be easier than I anticipated". "You feel that this could run and run," he continued, "the characters take on their own life, all you have to do is establish a character and create their own voice, and then couple that with an actor and we're off to the races." Viewers who haven't seen the film needn't worry, the TV series stands alone and does not require any prior knowledge. Although it focuses on a similar criminal underworld and other familiar Ritchie themes, the show follows a whole new cast of characters and makes almost no references to the film. "The fascinating conceit was what attracted me," James said at the premiere, "the melding of the aristocracy and the underworld, and how those things collide in the bombastic way. "Britain is so defined by class, and we love it and hate for various reasons, but defining it in the melee of this was really fascinating for me." One of the show's toughest and most assured characters is Susie Glass - played by Kaya Scodelario - who is running the cannabis farm under the estate's grounds. "I very rarely get to portray women that are already at the top of the game when you meet them," the actress said, "it's always a young woman finding her way in life. "But what I loved about Susie is she's a boss, she's good at her job, she can run things, she knows exactly what she's doing." Esposito plays the wealthy investor who has his eye on the estate - Stanley Johnston. "With a T," he repeatedly says - perhaps to differentiate the character from the real-life Boris Johnson's father. The political references appear to be deliberate - another character is named Toni Blair. Esposito said his character "is someone who is graceful, patient, cordial, and the British are that way". "So this seems to be a perfect collision of this aristocratic culture and nature, but also not only criminality and non-humanity. And for me, that tells a bigger picture of our world." Ritchie's credits include Aladdin and The Covenant, but he is best known for films which focus on themes of violence, gangsters and drugs but with a uniquely British twist. Films such as Snatch, RockNRolla and Lock, Stock and Two Smoking Barrels were hugely successful at the box office in the late nineties and early noughties. What have the critics said? Critics were broadly agreed that the series was entertaining, but several felt Ritchie leaned too heavily on his familiar style. The Wall Street Journal's John Anderson said: "No surprise, this crime dramedy showcases the Ritchie style, which is all about style: leaping jump cuts, slo-mo mayhem, layered imagery and dialogue, subtitles barging in on the mise-en-scène, and the visual implication that the world being put together is about to fly apart. "The show does feel a bit bloated at times, self-indulgent in trademark Ritchie fashion. But the fact that the series comes across as a collection of short stories makes it far more palatable, and fun." There was agreement from the Evening Standard's Vicky Jessop, who awarded the series four stars. "This all sounds wearily like going over old ground but surprisingly I found this hard to hate. It's just too fun: the fast cars, the increasingly unhinged baddies and how everything keeps going wrong in ever more spectacular ways." But Empire's Beth Webb said: "The pace lags, Ritchie's usual speed flagging without the confines of a feature film, and the story is padded out by too much exposition "Perhaps a smaller number of episodes could have saved The Gentlemen from verging on disengaging," she said. "Instead, it scrapes by on playing Ritchie's greatest hits." The series was described as "messy, convoluted, at times absurd and frequently overblown", by James Hibbs of Radio Times. "But," he countered, "above all that, it is an absolute boat-load of fun." And Variety's Aramide Tinubu said the show's "hijinks, plots and gory violence" will keep viewers entertained, adding the series "unfolds like a dazzling web of turmoil, keeping viewers sucked in over its eight episodes". Red carpet photos The show's premiere took place in London's Covent Garden on Tuesday evening, with several cast members walking the red carpet and later taking part in a Q&A on stage.