Úriemberek

Így kellene kezdődnie 2020 évnek! A legjobb Ritchie a Blöff óta. Vagyis az elmúlt 20 évben. Csodálatos forgatókönyv, mind dialógusokban, mind sztoriban és kifinomult szerepelőkben, vagy az elbeszélés játékos keretezésével, mintha az egyikük által írt forgatókönyv alapján készült volna. És természetesen az egész zabálnivaló csapat színészi vonzerejének kihasználásával. Dicsérem, ahogyan a Ritchie felnőtteknek szóló szórakoztató filmje verbálisan trágár és sok ember is meghal benne, de nincs benne grafikai erőszak, és kiemeli a különbséget a rosszfiúk erkölcsi alja és a "jó gengszterek" természeti szintje között. Tudatosan okos gengszteres film, eleganciával. McConaughey a legnagyobb főnök, de Hunnam a legnagyobb nagymenő. És Farrell természetesen a legviccesebb. (2020.01.29)

Guy Ritchie returns to the genre that made him famous and serves up a pure crime gangster flick that is probably the closest thing to Snatch. The film has a very unorthodox storytelling and at times it can seem confusing. Especially at the beginning I couldn't quite get into it, but somewhere in the middle I was enjoying truly it, and a big thanks goes to the awesome performances by the cast. Matthew McConaughey and Charlie Hunnam are traditionally excellent, Hugh Grant feels like in the role of a lifetime, and Colin Farrell steals all the scenes for himself and rips your diaphragm! Apart from the performances, the film is pulled up by the great black-dry British humour and the unexpected twists. Guy Ritche has made a playful, stylish, funny and unconventional gangster film and people will love it. 7.5/10. (2020.01.25)

I'm satisfied. Very satisfied, actually, because Guy Ritchie promised to deliver a Guy Ritchie-style gangster movie, and he did. So the only potential problem I have with his new release is that it sticks to the beaten track and makes only minimal attempts to surprise. But it doesn't really matter, because Ritchie knows this genre like nobody else, and once again he manages to make a very brisk film with unexpected twists and even more unexpected directorial ideas, in which all of the actors (probably most notably Hugh Grant and Colin Farrell) clearly enjoy themselves. Ritchie has a way with slow-building tension ending in absurd violence reminiscent of the beginning of Pulp Fiction, but he manages to switch gears to his typical frenetic pace within moments. He manages to be funny and entertaining, and moments later his characters go regular scared. He's just the Ritchie we wanted to see. Nothing more, nothing less. That's good enough for me. (2020.01.28)

Four stars, by a hair’s breadth. It’s not as sophisticated as it wants to be, the final twist is rather banal, and the lukewarm and cluttered first half does the film no credit. Ritchie can do better than that and the current 89% rating on this site is completely overblown. All in all, I enjoyed myself: there are a couple of good ideas and you cannot help but root for excessively elegant McConaughey... but I don’t feel like I’ll want to rewatch this. I almost feel compelled to paraphrase the Bard in saying this is much ado about… well, not entirely nothing, but a slightly above-average film. (2020.04.02)

A sad and unwelcome moment when one of the best directors puts a group of people I love (Matthew McConaughey, Colin Farrell, Charlie Hunnam) or even adore (Hugh Grant, Michelle Dockery) in front of the camera and creates a new contribution to one of the most beloved genres, and the public reacts more than positively – and I end up sadly shaking my head at the result. The form, the pacing, it's all there. But sticking to drugs, poses, and dialog competitions about who can pee further after the age of fifty seems at least unfortunate to me, in some twists even stagnant. In the details, it's still the same Guy Ritchie from Snatch, but on the whole, for the first time ever, nope. (2020.11.10)