You can’t talk about Cats, the movie, without mentioning that widely ridiculed trailer. The one where the slinky felines are first revealed to be a nightmarish merging of human faces and CGI furball.
Well, the bad news is they still resemble one of Dr Moreau’s failed experiments. The good news? It sort of doesn’t matter in the end; the spirit of Andrew Lloyd Webber’s creation is clearly on full display. The story is set over the course of a single night; a tribe of cats called the Jellicles make what is known as "the Jellicle choice" and decide which cat will ascend to the Heaviside Layer and come back to a new life. Much singing and dancing ensues.
The lavish visuals and beautifully crafted set design is a sight to behold, even if the cats themselves (featuring Taylor Swift, Judy Dench and newcomer Francesca Hayward) take a little (more like a lot) of time to get fully accustomed to. It won’t do anything for the uninitiated, but fans of the 1981 musical will eat it up like catnip. (research Jack Whiting) While the rest of us can be thrilled by the litter.
Inspired by Lucas Martell’s charming 2009 short Pigeon: Impossible, this Bond-meets-bird adventure is goofy fun.
Will Smith voices Lance Sterling, a supercool spy sporting a tux, a trimmed goatee and an absurdly over-inflated upper body; he’s a suave figure who is an athlete and general warrior in America’s cause. Lance’s underling-slash-helpmeet is the dorky young scientist and tech whiz Walter Beckett (Tom Holland) who is there to supply the gadgets and generally be the Q to Lance’s Bond. Walter’s pièce de résistance is a formula for “biodynamic concealment”, which would help spies do their work entirely undetected.
He’s been testing it on his own pet pigeon, but Lance accidentally ingests the results and transforms into a tiny, now-furious bird. So pigeon-Lance – grumpily complaining all the time about the appalling existential indignity of being a bird (and not a particularly nice one at that) – has to work with Walter in a much more demeaningly submissive way than before.
A genuinely funny and unexpectedly emotional buddy comedy, Spies in Disguise might play it safe in some areas, but at least it’s not cutting corners.
Bringing together a strong cast, Greta Gerwig creates a refreshing and heartwarming take on the coming-of-age classic novel.
Following up Lady Bird, actress-turned-director, Gerwig opted for an adaptation of Louisa May Alcott’s novel, taking a familiar story and restructuring it to revitalise the narrative. Little Women explores the lives of the four March sisters: Jo (Saoirse Ronan) Meg (Emma Watson) Beth (Eliza Scanlen) and Amy (Florence Pugh). The family drama follows the coming of age of the sisters and their mother, ‘Marmee’ (Laura Dern) in genteel poverty of 1860s New England. Having lost all their money, the March sisters must adjust to a new lifestyle, standing by each other despite different ideals and trials. It begins with Jo as a young committed writer and narrator, waiting outside a New York publishing house. The classic tale traces the sisters’ experiences as adults and teenagers through a series of flashbacks, exploring how their various ambitions develop. The camaraderie and jealousy in the all-female household is expertly drawn, with exceptional performances by Timothée Chalamet, as heartthrob Laurie, and Meryl Streep playing the haughty Aunt March adding to the infectious energy of the ensemble. A beautiful film full of warmth and insight.
(research Rachel Williams) Indeed. Don’t miss.
Gorgeous documentary on the nature of all things beautiful from directors Ljubomir Stefanov and Tamara Kotevska.
The films focus is Hatidze Muratova, the last in a long line of Macedonian nomadic beekeepers, living isolated in the mountainous region deep within the Balkans. Tending to her hives with near monastic devotion, Hatidze makes a meagre living farming small batches of their honey to be sold in the marketplaces of nearby villages.
They spent three years filming, and their time and patience gives us a deep, affectionate appreciation for Hatidze and her bees. She is calm, protective and respecting of her charges, taking only half of the honey she harvests, leaving the rest for the bees themselves.
When a nomadic Turkish family move onto the plot of land near Hatidze we see a threat emerge to the delicate balance of her solitary existence. As family’s patriarch, Hussein, begins to see an opportunity to take up beekeeping himself, his efforts threaten to encroach on her already tiny livelihood. It offers an intimate portrait of a life lived in harmony within a natural world. (Research Chris Coetsee) Honeyland took home sweet Grand Jury prizes at this year's Sundance FF, hope Hatidze got hers…? Come and see.
Jennifer Kent goes deeper and darker with her second feature. Where as The Babadook was certainly a horror; this is real, unflinching terror.
Colonisation is a brutal business, one in which everyone involved is debased. Set in 1825 – during the Black Wars in Tasmania – Clare (Aisling Franciosi) is an indentured Irish convict servant, in bondage to the typically cruel Lieutenant Hawkins (Sam Claflin) sketched into one cartoonish character in the sordid history of English colonialism. She is overdue her ticket to be freed and wants to be with her husband and child, but Hawkins refuses to relinquish his control. His abuse of power culminates in a horrific act of rape and physical violence against Clare (the scene is very tough, don’t be afraid to look away). Hiring an indigenous tracker in Billy (Baykali Ganambarr) Clare stalks Hawkins and his small party.
The Nightingale is a necessary reminder that sexual violence isn’t just a trendy topic that exists solely in the abstract, but is primarily something, once experienced, cannot be reduced to a film trope. (research Jack Whiting) It doesn’t dwell on the overcrowded bandwagon of self righteous trend, nor the overcooked tale of the woe of the downtrodden. But it travels well on redemptive vengeance.
Lightsabers to the ready one last time as the biggest entity in movie history closes the book - on the Skywalker saga - with its ninth and final chapter.
The concluding part (and the third in this new trilogy) sees our plucky heroes, Rey (Daisy Ridley), Finn (John Boyega) and Poe (Oscar Isaac), come back together after being scattered to the wind during the events of The Last Jedi. Kylo Ren (Adam Driver) has assumed command of the dastardly First Order as it continues to pursue the resistance, led by Leia (bringing back Carrie Fisher, fleetingly, using unused footage from The Force Awakens). But there is a much darker evil lurking in the shadows. An evil with a familiar face, who’s last minute emergence ties all the chapters together. (Wow - really..?)
JJ Abrams has the unenviable task of delivering a rip-roaring two hours of entertainment, while also pleasing the army of hardcore ‘fans’ (I use the term loosely because they seem to hate everything new) and conclude the film, and series as a whole, in a way that satisfies. After this I think a little real break from the Force would do us good. (Jack Whiting). But dont bet on it... ‘Final’? - My R2D2...!
A glorious blockbuster of acting chemistry and cinematic wit.
Following a lavish 85th birthday party in his honour, wealthy and successful mystery novelist Harlan Thrombey is found dead with his throat slit. For the police this is an open and shut case of suicide, until master sleuth and debonair detective Benoit Blanc arrives on the scene. Hired by an unknown benefactor, Blanc soon turns his attention to a Cluedo board of suspects; the entire Thrombey clan.
Inspired by the plethora of Agatha Christie novels, writer and director Rian Johnson knows how to stage a murder mystery. Murder on the Orient Express this is not. His knotty, deliriously deceptive screenplay plays like an unreliable narrator’s recollection of a drunken story they heard secondhand.
Daniel Craig is a storm as the ridiculously southern Blanc. Shannon, Curtis and Collette bring malice, spite and greed into each full-frame close-up they get while Chris Evans smarms it up as the rude, spoiled grandson. If you have half as much fun watching Knives Out as it looks like the cast did making it, you are guaranteed a good time. What a reminder that mainstream movies don't need explosions or superpowers to be deliriously entertaining. (Research Chris Coetsee)
A low-key family drama with a shattering tragedy at its heart, Amanda is a quietly moving celebration of human resilience.
The devastation and loss caused by terrorist attacks in Paris, Nice and elsewhere form the starting point for this determinedly gentle French film from director and co-writer Mikhaël Hers, about a fictionalised violent incident.
Amanda is a seven-year-old, played by newcomer Isaure Multrier, who is being brought up in Paris by teacher and single mum Sandrine (Ophélia Kolb). Her twentysomething and mostly hopeless, kid brother David (Vincent Lacoste) has to do his bit by minding her a couple of days a week. Things start looking up when a beautiful tenant, Léna (Stacy Martin) moves in and seems to take an interest in him. Then, one day, David, Sandrine and Léna agree to meet up in the park. David is late... Suddenly this hopeless man-boy must step up to a new and to be learned selfless responsibility.
Despite the bloody events at its centre, Amanda is a pleasingly emphatic, and well-intentioned drama. (research Jack Whiting) Faint praise indeed Jack, for such a beautiful character led, and huge tender story of love, loss and care... Do not miss.
If you told me Adam Sandler would one day make a comeback worthy of a Best Actor gong, I’d say get outta town. Yet here we are, in 2020, with his career best.
Sandler is Howard Ratner (all puns intended) a jewelry-store owner in 2012’s New York’s Diamond District who runs his business like a gambling junkie, thriving on the rush and hot for a new score that might lose him everything. Juggling debt collectors, crazily complicated sports bets, a mistress (Julia Fox) and a wife, (Idina Menzel) turn Howard’s life into a series of high-stakes gambles, the most crucial of which centres on a rare black opal, obtained, like almost everything in Howard’s life, in a way that is not entirely above board.
Guiding Sandler through this urban nightmare are Josh and Benny Safdie, two young NY filmmakers who portray their city as an anxiety inducing ride. Uncut Gems is the most exhilarating movie experience in recent times. It’s a film that is impossible to sit back and watch passively; a clenched-muscle collision of overstimulation. Not to be missed. (research Jack Whiting) Come, take a posh seat, and “rattle your jewelry”.
As the most technically accomplished war film to date, Dunkirk has just been stripped to second place.
Sam Mendes’ World War 1 epic tells of two young soldier boys; Schofield and Blake as they charge through enemy lines on a mission to save a certain massacre. Their orders from General Erinmore are crystal clear: they must make their way across trenches, mine-fields, battlefields and No-Mans-Land in France to hand-deliver (no radio)a message to Col. Mackenzie commander of the Second Battalion. It contains orders to call off a planned advance against the German army, falsely presumed to be weakened. It is a trap that could result in slaughter of two thousand troops, including Blake’s brother.
Armed with one of our greatest living “Lighting Cameramen’ DP: Roger Deakins, Mendes stalks these men, chasing behind them into their own unknown (so ours!) in one ‘continuous’ shot. As battalions clash, planes crash, and artillery assaults the senses, these two hapless braves must traverse across the battlelines over two days. 1917 is inspired by a true story told to Sam by his grandfather, who actually ran as a messenger on the Belgian front. Hence a terrifying, heart stopping, intimate story. (research Jack Whiting) A bruising two hours. You can’t move, dont try.
Japanese filmmaker and animator Makoto Shinkai’s fantastical romance amid the bright lights of modern-day Tokyo.
Torrential rain drowns the city. With every enormous drop that reaches the ground, Tokyo’s citizens long a little harder for the sunshine of summer. 15-year-old Hodaka, a small-town dreamer who’s run away from home to the chaotic metropolis, takes a live-in job transcribing for a small publishing company. Down on his luck, his fortunes soon change when he finds himself rushing to the defence of Hina, a “sunshine girl” of legends with the power to momentarily stop the downpour.
Already a massive hit in its native Japan and the country’s official submission for this year’s Best Foreign Language Film category at the Oscars, Weathering with You is a stunning tale of young love against the elements. At once passionate, funny and truly heartwarming, it keeps you grounded in reality before whisking you away on a magical journey of exploration through the eyes of two wondrous characters. A beautiful, blustery love story that evokes a storm of emotions. (Research Chris Coetsee) Don’t let the animation stall you. This is a grown up feature film, deliberately showing here at a grown-up time. Huge and stunning. Cancel the rain. Come.
Taika Waititi offer a hilarious perspective on the insanity of Nazism in this brazen, boisterous comedy.
Creating a World War II-set comedy-drama that counts on drawing laughs from one of history’s greatest monsters is a big sell, even for Waititi, a filmmaker whose deadpan New Zealand wit has given us everything from vampire mockumentary What We Do In The Shadows to the coming-of-age territory he explored in Boy and Hunt For The Wilderpeople.
His first war movie and only period piece, focuses on ten-year-old German boy Johannes ‘Jojo’ Betzler (Roman Griffin Davis). He has grown up in Nazi Germany idolising Adolf Hitler but when he discovers his mother is harbouring Jewish girl Elsa (Thomasin McKenzie) in their home, his outlook begins to change, much to the dismay of his Führer-shaped imaginary friend.
The two standout young actors are worth the price of admission alone with both McKenzie and Davis providing the kind of heart you may not come to expect from such a set-up. Looking at how impressionable youth can be so easily manipulated, Jojo Rabbit shows us that prejudice and hate are not behaviours born of the soul, but ideologies and beliefs indoctrinated into us by others. (Research Chris Coetsee) Fantastic. Come for Chris’s last line, alone…
There have been three peak periods of animated features, all connected with Walt Disney, the flawed genius, and the studio he created.
The second was the early 90s revival - also known as their renaissance - which included Beauty and the Beast, The Lion King and Aladdin. We're now living in the third period, dominated by the computer-generated Pixar creations owned by Disney, as well as their own behemoths (Frozen, Wreck-it-Ralph etc). We kick-start our week of Disney classics with Bambi, which comes from the very first era.
Adapted from Felix Salten's book, it traces the formative seasons of a deer - imbued with human characteristics, as are his companions Flower, the shy skunk, and Thumper, the exuberant rabbit - who must learn the lessons of life and love in the forest.
The death of his mother at the hands of a hunter ("Man") remains one of cinema's most memorable, even though its height of tension is off-camera. Bambi still has plenty to tell children and strikes a deft artistic balance between naturalism and cartoonery. (research Jack Whiting) Who can forget those first leggy attempts to walk - on ice. Everybody’s favourite Disney weepy. Lots of hankies.
Aladdin was a particular highlight of Disney’s renaissance throughout the nineties. Made even more magical by Robin Williams’ show stealing turn as the genie.
“Kids will be captivated and enchanted by this classic Arabian Nights fable, where street urchin Aladdin uses a magical oil lamp and its (fab improv-motormouth) genie to win the love of Princess Jasmine and defeat the evil Jafar. There's plenty for adults to too, particularly the film's delightful songs and numerous sophisticated references.” (Radio Times) How very 1950’s Radio Times. Delightful.
Even in two-dimensions, it's a typical Williams performance, a scattergun burst of impersonations (everyone from Groucho Marx to Arnold Schwarzenegger) and weird transformations (the genie morphs into a submarine, a stereotypical Frenchman, a harem girl, and a talking lampshade).
“The visual ingenuity is effortlessly matched by Williams's fast-lipped improvised comedy. His riff on the standard three wishes is quite inspired: “No substitutes, exchanges or refunds.” (Film4)
Aladdin is pure Disney; with all the ingredients working together to produce a timeless one-off. Underneath the sappy carpet ride, you have Listen With Mother bland, hummable tunes. Robin Williams’ wit, speed and gorgeous charm captivates still. He is much missed, so don’t you miss it now, child or bigger.
Kristen Stewart captures the spirit of a martyred icon as the French New Wave’s tragic poster girl.
This is not an airy, shimmering, life-spanning biopic. The star of Jean-Luc Godard’s Breathless suffered years of harassment and surveillance from the FBI for supporting the Black Panthers in the late 1960s, all of which contributed to her crippling depression and anxiety. More in line with Francis Ford Coppola’s The Conversation, it’s a blunt portrait of a woman, a political activist, a movie star, whose life was hounded and kicked into submission by the pox’d FBI
The real draw here, is Kristen Stewart who captures her beautifully. Her Jean is the beating heart of the film. She is mesmerising. It’s a performance utterly defined through her eyes and movement. To step into the shoes of such an icon is a daring move and we are rewarded with a decade-defining turn from Kristen.
Looking past the fictional bolt-on of conflicted FBI agent Solomon, Seberg champions the once vibrant strength and defiance of its subject and stands up for her truth. (Research Chris Coetsee)
An early European iconic girl, whose original style gifted the 60s its first look. Find her, she has never stopped being fresher than ever. Come.
This sheep-quel mixes the same jolliness and English eccentricity with a Spielbergian sci-fi twist – and pulls it off with typical Aardman charm.
The plot plays a bit like ET with Shaun in the Elliott role. Shaun and his flock encounter Lu-la, an alien who has crash-landed near Mossy Bottom Farm. With government agents hunting her down, Shaun decides to defy farm dog Bitzer and help Lu-la return home. Shaun, the littlest of heroes, provides much delight and fun in a film that has tremendous crossover for both adults and children alike.
Aardman’s charming and stupendously popular ruminant again gets by on a steady stream of bleats, squeaks and rubbery facial expressions. The result is another great showcase for the animation house’s powers of non-verbal storytelling that’s a giddy delight for kids, and just witty and knowing enough for grown-ups eg: one visual gag involving a piece of toast resembling the monolith from Kubrick’s 2001 is classic Aardman. It’s one giant leap for lamb kind. (Jack Whiting) Nice gag Jack. Farmageddon is pure joy from the painstaking and genious animaters at Aardman’s stop-frame-click shop floor. Bring two streets...
Two chalk and cheese mutts paw their way into our hearts in this 1955 Disney classic.
Lady is a very pampered cocker spaniel who is used to being the centre of attention. When her loved-up humans depart on vacation, Aunt Sarah arrives to look after their newborn baby, bringing with her a mischievous pair of Siamese cats who cause quite a disturbance in the house. When this outsider purchases a muzzle and puts it on Lady, she runs away, hurt and humiliated. Meeting Tramp, a stray male dog from the ‘wrong side of town’, he finds a way to free her and whisks her away on a romantic adventure.
A delight for the children and a joy for adults, Lady and the Tramp is a film layered with some truly iconic moments that have helped define Disney for generations. A nostalgic charmer, its token sweetness continues to appeal (rarely can you find such tenderness in bowl of spaghetti). With a full-scale, CGI reboot barking on the horizon, re-live the original one more time. (Research Chris Coetsee) Come re-live, or first-time it. At 8 years old, me and our John raced to see it together at the ‘Sunhall’ on Stanley Road.
An era-defining film that Hollywood didn’t know it needed; Hustlers is female empowerment writ large as J-Lo and co. strut their stuff.
Adapted from a magazine article about a scam perpetrated by a group of dancers at a New York strip club, Lorene Scafaria’s wildly entertaining comedy offers both a welcome twist in the crime thriller genre, and a “I can’t believe this actually happened” true-story drama in one clever and subverting package.
“This whole country’s a strip club.” This is the grand philosophy of dancer Ramona (Lopez) you’re either the ones throwing the money, or you’re the ones catching it from a pole. The original article frames the women in a Robin Hood contest; drugging and robbing Wall Street one creep at a time to afford a better life for themselves and their families at a time of financial disarray. Here, it plays out with the slickness of a Steven Soderbergh thriller; this all sounds headier than Hustlers’ marketing would have you believe, but rest assured this is a tremendously entertaining film, and one of the year’s sleeper hits. (research Jack Whiting) We pushed for it, and now it’s whispered for awards. So come sisters, you wont be sorry. So don’t miss it now.
Disney’s ‘little elephant who was all ears’ embodies the heart of its classic-era features
Originally conceived as a short film, Dumbo was rushed through production following the box-office failure of Fantasia, emerging as one of the studio’s most timeless melodramas. Finished in a year and a half, compared to the five years it took to make Bambi, its simplicity pays off - focusing more on pulling the right emotional strings. When a young circus elephant is born with comically large ears, he is given the nickname Dumbo and a lifetime of ridicule. After his mother, Mrs. Jumbo, witnesses a group of kids cruelly mocking her child, she catches one of them with her trunk, leading to her own imprisonment by the circus ringmaster. Dumbo is made to perform dangerous stunts, ostracised by everyone in the circus troupe but Timothy, a mouse who motivates the elephant to become a star. The film was called the “most genial, the most endearing, the most completely precious cartoon feature film ever to emerge from the magical brushes of Walt Disney's wonder-working artists!” by a critic in The New York Times back in 1941. (research Rachel Williams) Fabulous. Another original Disney cartoon not to be missed
Armando Iannucci combines wit and satire with an A-list cast to create the perfect Dickens film adaptation
Returning after our gifted anniversary preview in December (followed by a relaxed easy-going Q&A with Armando, who brought his whole family..!). The film went down a storm with The Rex audience ahead of its nationwide release. Its diverse casting, with the remarkable Dev Patel as David, and interesting stylistic touches set the film apart from previous adaptations of the novel. Condensing a 600+ page tome into a fast-paced tragicomedy, we follow David’s tumultuous journey from birth to adulthood, as he navigates various obstacles as an impoverished orphan to a burgeoning writer in Victorian England. Playing David’s Aunt Betsey and Mr Dick, Tilda Swinton and Hugh Laurie excel as an eccentric double act, reflecting both the absurdity and charm of Dickensian characterisation. Ben Whishaw’s performance as the manipulative Uriah Heep and Peter Capaldi as Mr. Micawber add to the fun. During his Q&A, Iannucci said “I was always struck by how fresh and contemporary Dickens felt and I think we’ve packaged him away as some Victorian fusty long-winded novelist.” Not to be missed, the film captures the spirit of Dickens’ masterful (and youthful- mischief) storytelling. (Rachel Williams). Must not miss.
80 years old, one of Disney’s greatest remains as charming and emotionally resonant as ever.
Mister Geppetto, a lonely old toy-maker, sees his dream of having a son come true when he is visited by the kindly Blue Fairy. With one turn of her wand, one of his puppets, Pinocchio, comes to life, but he is still wooden. If Pinocchio proves himself brave, true, and unselfish, she will make him into a real boy.
Disney's second feature-length animated film followed after the success of Snow White. It was made during Disney's 1940s golden era, alongside Fantasia, Dumbo and Bambi. It became one of Disney's most enduring, mature and beautifully-imagined perfect works, a coming-of-age story about a boy who overcame temptation and learned courage in the face of fear and danger.
It is a parable for children, and generations have grown up remembering the words "let your conscience be your guide" and "a lie keeps growing until it's as plain as the nose on your face." It isn’t just a concocted fable or a silly fairy tale, but a heartening story with some beautifully crafted lessons in life. (Research Chris Coetsee) Fantastic - amongst a treasure of Disney originals, some here for the first time.
Terrence Malick’s lyrical, haunting tale of an Austrian farmer who defied the Third Reich.
August Diehl stars as Franz Jägerstätter, a modest, soft-spoken Catholic. Living among Austria’s mountains, Franz and wife Fani (Valerie Pachner) are happily running their farm, deeply involved in the community as they raise their three young daughters. Having served compulsory military duty, Franz is unnerved when Hitler takes power, demanding an oath of loyalty from his soldiers. Unable to violate his personal understanding of right and wrong, he faces a harrowing test of faith and spirit as the fear of execution threatens.
As much a career summation as Scorsese’s The Irishman, A Hidden Life combines every stylistic element from across Malick’s near 50-year filmography, channeling the earthiness of early classics Badlands and Days of Heaven with whirling, voiceover montages prevalent in his recent work. Terrific central performances from Diehl and Pachner give sombre strength and real emotional core to a couple caught between corrosive power and the new horror of their once beautiful home.
Destined to be one of the year’s most distinctive films, certain to be divisive. The manner of all Malick’s films to one degree or another (and too long). (Research Chris Coetsee) Brilliant Chris.
Three mega-blondes dazzle in Jay Roach’s darkly satirical drama.
Taking place in the midst of the 2015 election cycle that quietly saw Donald Trump ascend to his eventual presidential victory, Bombshell brings to life the sexual harassment scandal that hit Fox network when two of its high ranking employees; star anchor Megyn Kelly (Theron) and Gretchen Carlson (Kidman) first accuse and then bring down Roger Ailes, the right-wing Chairman and CEO of the network. Joining them, Robbie's character Kayla, a fictional amalgamation of dozens of ambitious young women, struggles with her own personal exploitation by Ailes during his reign.
Roach takes us behind the scenes of the shape-shifting Fox News landscape, aided by some truly sublime performances. Theron simply disappears into the role of Kelly. Complete with facial prosthetics, contact lenses and a voice lowered to the point where she damaged her vocal chords while filming, she should find herself in serious award contention this season. Robbie is similarly outstanding at portraying Kayla’s frail mental state while John Lithgow cracks open Ailes ugliness with one bullish line after the other.
A punchy, telling insight into women in the Media in times of change. (Chris Coetsee) Much more promising than the poster looks. Come and see.
After more than a decade of Hollywood hits (and misses) - culminating in Aladdin, of all things - Guy Ritchie is back on home turf with this unapologetically, nonPC (poseur Guy - never!) gangster yarn.
Brace yourself for a swank-fest. American Mickey (Matthew McConaughey) is ready for early retirement. A languid self-made crim, he has lots of connected friends, a trophy wife, Rosalind (Michelle Dockery) and a marijuana empire to sell to the highest bidder. Nerdy, greedy, penny-pinching millionaire Matthew (Jeremy Strong) is interested in getting his hands on all that weed. So is Dry Eye (Henry Golding) a footsoldier in a Chinese syndicate who has no respect for his elders and less for Mickey.
Yet, in true Ritchie style, this is complicated by a story we are told through the eyes of scuzzy private investigator Fletcher (Hugh Grant, sounding like Jonathan Ross) who is relaying the plot to Mickey’s right-hand-man, Ray (Charlie Hunnam) for blackmail. If you can just about follow the needlessly convoluted narrative and stomach the usual suspect of unpleasant humour, you can almost say Ritchie has made a welcome return. (research Jack Whiting) Welcome? This depends on which side of Guy’s, nice-public school-boy-but-wannabe-a-realife-horny-gangster, you lads like to dress...