The Gentlemen review

For F*** Magazine

THE GENTLEMEN

Director: Guy Ritchie
Cast : Mathew McConaughey, Charlie Hunnam, Henry Golding, Michelle Dockery, Jeremy Strong, Eddie Marsan, Colin Farrell, Hugh Grant, Tom Wu
Genre: Crime/Drama/Comedy
Run Time : 1 h 53 mins
Opens : 27 February 2020
Rating : M18

When Guy Ritchie made the two Sherlock Holmes movies starring Robert Downey Jr, there still was a rough-and-tumble street quality to them. Then he made a movie version of the 60s spy-fi series The Man from U.N.C.L.E., which still had recognisable Ritchie elements. Then he made the medieval fantasy King Arthur: Legend of the Sword, and even more out of left field than that, directed the live-action remake of Disney’s Aladdin. With The Gentlemen, Guy Ritchie returns to his wheelhouse of street-level gangster mayhem, complete with crass irreverent dialogue and plenty of violence.

American-born Mickey Pearson (Matthew McConaughey) is the UK’s top marijuana kingpin – he reigns over a carefully cultivated empire and now, he’s looking to sell, to live a life of peace with his wife Rosalind (Michelle Dockery) who runs a custom car garage.  Fellow American Matthew Berger (Jeremy Strong) has his eye on Mickey’s operation and faces competition from Dry Eye (Henry Golding), the ambitious apprentice of crime boss Lord George (Tom Wu). Newspaper editor Big Dave (Eddie Marsan) hires private investigator Fletcher (Hugh Grant) to investigate Mickey’s dealings, after being snubbed by Mickey at a high society shindig. Fletcher offers to sell his findings to Mickey’s right-hand man Raymond (Charlie Hunnam), meeting Raymond to tell him all the juicy details.

This is vintage Guy Ritchie – rough-and-tumble, witty, twisty, stylish and entertaining. Taken by themselves, none of the individual components of The Gentlemen offer anything new, but Ritchie has assembled them into a whole that works. Ritchie balances the silly and the sinister – there’s a lot about The Gentlemen that’s intended to be funny, but there are also genuinely tense scenes in which characters face off and you’re not sure who’s going to make it out alive. While The Gentlemen is predictable overall, Ritchie’s strength is in creating the illusion of unpredictability in the moment. The movie’s framing device is a meeting between Fletcher and Raymond, which provides the ideal framework for expository details about each characters’ backstory without it seeming tedious. There is a playfulness to The Gentlemen – the meta-fictional component of Fletcher writing a screenplay means that the movie winks so hard a couple of eyelashes almost fly off, but there’s a bit of charm in that.

As with any filmmaker who has cultivated a recognisable style and has become a brand name, there will be those who find said style annoying. The Gentlemen is not a restrained movie, with the Ritchie-ness turned up to 11: adherents will be there for it, but those who aren’t already fans of the director might well be alienated. There are attempts to be shocking that are in line with what one might expect from a Guy Ritchie crime movie – many instances of the c word are dropped and there are many racial slurs used against Jews, East Asians and black people (the film is slightly too amused with the Vietnamese name “Phuc”). Sure, this is a gangster movie populated by unpleasant characters whom we expect to do and say unpleasant things, but there are times when it feels like Ritchie is straining for relevance, that he’s an old dog trying and not always succeeding at performing new tricks. The casual racism is more lazy than shocking. There’s so much going on to the point where it feels like all the subplots and digressions are there to distract the viewer from how rote it is.

Ritchie has assembled a strong ensemble – the casting largely makes sense. McConaughey is having a grand old time playing the wily American – for how over-the-top this movie often is, there’s a level of control to his performance which is quite impressive, even though this doesn’t seem like an acting challenge for McConaughey.

Grant plays against type as a weaselly private investigator who is flamboyant and all too pleased with himself. He plays off Hunnam, Ritchie’s King Arthur, who plays the gruff straight man. Some of the film’s best moments are the interactions between the two, during which it almost feels like a stage play.

Henry Golding plays against type as a young crime lord on the way up – it’s probably the role that’s the most different from the others he’s played in his relatively brief career, but is one that gives him acting cred – “gangster in a Guy Ritchie movie” just looks good on an actor’s CV. It’s a shame that the character is the target of most of the movie’s racism.

Colin Farrell is entertaining as a wrestling coach who wants nothing to do with the drug-dealers and gangsters but is drawn into the fray because his students have stolen from one of Mickey’s weed farms and filmed it, the video going viral. We’re grading on a curve, but he is likely the most decent, ethical character in the film.

Michelle Dockery is, as predicted, under-used – the movie wants to establish Rosalind as being as formidable as her husband, but the narrative always favours him, such that she takes a backseat because that is the nature of the story.

Summary: A vulgar, dirty crime comedy that’s often as dumb as it is clever, The Gentlemen is, for better and worse, trademark Guy Ritchie material.

RATING: 3.5 out of 5 Stars

Jedd Jong

 

Serenity review

SERENITY

Director: Steven Knight
Cast: Mathew McConaughey, Anne Hathaway, Jason Clarke, Djimon Hounsou, Diane Lane, Jeremy Strong, Rafael Sayegh
Genre: Drama/Thriller/Mystery
Run Time: 1 h 46 mins
Opens: 21 February 2019
Rating: M18

           Interstellar stars Matthew McConaughey and Anne Hathaway reunite under extremely bizarre circumstances in this neo-noir thriller, which is already being called the worst film of 2019.

McConaughey plays Baker Dill, a fisherman on the idyllic Plymouth Island who takes tourists out to sea on his fishing boat, the Serenity. Baker’s ex-wife Karen (Anne Hathaway) arrives on the island, asking Baker to kill her current husband, the abusive Frank (Jason Clarke). The plan is to get Frank drunk during a fishing trip and throw him overboard. Baker is initially resistant to the plan, but eventually feels he owes it to his and Karen’s son Patrick (Rafael Sayegh) to free Karen from Frank’s grip. A tale of murder, madness and vengeance unfolds in paradise as Baker soon finds himself in way over his head.

Within days of opening in the U.S., Serenity’s badness has become legendary: the movie was a box office bomb that marked the lowest openings in McConaughey and Hathaway’s careers. Distributor Aviron gave up on marketing the movie altogether, cancelling planned publicity events and talk show appearances for its stars.

Is Serenity as bad as everyone is saying? Short answer: it is. Writer-director Steven Knight set out to make a “sexy noir” thriller, and for the first hour or so of the movie, it comes across as awkward and slightly melodramatic but never offensively bad. Then, as things ramp up and the plot reaches a crescendo, the film builds to a baffling, staggering twist ending. It’s a twist that truly must be seen to be believed, the kind of reveal that nobody could have ever thought was a good idea.

The movie feels like a hybrid of Hemingway’s The Old Man and the Sea and 90s erotic thrillers like Basic Instinct and The Colour of the Night. The film was shot in Mauritius and setting it on a remote island away from the madding crowd gives the movie an initial air of mystery, but everything is so over-the-top and ham-fisted that Serenity has no dramatic impact at all.

Matthew McConaughey may be an Oscar winner, having found redemption after years of floundering about in sub-par romantic comedies, but he still makes missteps in choosing his projects. As the tortured hero with a tragic past, McConaughey does a lot of yelling at the sky. There’s an extended skinny-dipping scene, which is perhaps the most worthwhile thing in the movie. The character is intended to be sympathetic but doesn’t come close to making audiences root for him.

Michael O’Sullivan of The Washington Post described Anne Hathaway’s performance as “kind of a live-action Jessica Rabbit from Who Framed Roger Rabbit?” and we can’t come up with a better description than that. Everything is heightened and hard to believe, but Hathaway’s turn as a blonde femme fatale is the most heightened and hardest to believe part of Serenity.

Jason Clarke’s abusive husband character is just that, a one-dimensional villain. It looks like Clarke had fun playing him, but he has played despicable characters with more nuance to them and it’s just more interesting that way.

Diane Lane shows up as a woman whom Baker sleeps with for money. That’s about it as far as her character goes. Oh, Djimon Hounsou is in this movie too.

There’s a version of this movie which is a tongue-in-cheek stealth parody of erotic thriller conventions that might have worked, but this is just a failure on every level. There’s a novelty factor to two Oscar-winning movie stars headlining what promises to be a steamy thriller, but Serenity fizzles out in spectacular fashion. By the time the mind-boggling conclusion rolls around, the movie has done a slow-motion faceplant on the ground. It’s also a shame that Serenity tarnishes the good name of 2005’s Serenity, the movie continuation of Joss Whedon’s space western TV series Firefly.

RATING: 1.5 out of 5 Stars

Jedd Jong