list http://www.spout.com/ Recent community activity around Swept Away on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Swept_Away/210780/default.aspx Title: Swept Away
Year: 2002
Director: Guy Ritchie
Plot: Guy Ritchie, best known for the tough-guy crime comedies Snatch and Lock, Stock and Two Smoking Barrels, goes for a change of pace with this remake of Lina Wertmuller's 1974 comedy-drama, with his wife Madonna in tow. Amber Leighton (Madonna) is the wife of Dr. Anthony Leighton (Bruce Greenwood), the wealthy and successful head of a pharmaceutical company. While Amber seemingly leads a charmed life, it doesn't appear to make her very happy, and she often inflicts her typically foul mood on those around her, especially the hired help. Anthony decides to surprise Amber with a cruise from Italy to Greece, with four of their friends in tow, but Amber doesn't much care for the notion. Amber feels the yacht they've hired is far beneath her standards, and she makes Giuseppe (Adriano Giannini), the first mate of the crew, the primary target of her dissatisfaction. Giuseppe, an ardent leftist, feels nothing but contempt for Amber, but for the sake of his job he can't say a word in response to her attacks. One day, Amber declines an invitation to go diving with her friends, but later changes her mind, demanding that Giuseppe take her to the underwater caves. Giuseppe warns Amber that a storm is brewing, and his prediction proves to be right on the money; soon, Amber and Giuseppe are stranded on a desert island, and suddenly they discover the tables are turned. Giuseppe, a trained fisherman and outdoorsman, knows how to survive on the island, while Amber is utterly helpless, and he forces her to cower under his commands in order to survive; before long, their mutual antagonism has begun to turn into something approaching unfettered lust. Adriano Giannini, who plays Giuseppe, is the son of Giancarlo Giannini, who played the equivalent role in Wertmuller's original film. ~ Mark Deming, All Movie Guide
Times Tagged: 5
Number of Lists: 5
Number of blog posts: 8
SpoutRating: 2
]]>Thu, 23 Apr 2009 10:33:44 GMTSwept Away2002Guy Ritchie<a href="/players/P___242801/default.aspx" style='text-decoration:underline'>Guy Ritchie</a>, best known for the tough-guy crime comedies <a href=/films/171967/default.aspx style='text-decoration:underline'>Snatch</a> and Lock, Stock and Two Smoking Barrels, goes for a change of pace with this remake of Lina Wertmuller's 1974 comedy-drama, with his wife <a href="/players/P___100711/default.aspx" style='text-decoration:underline'>Madonna</a> in tow. Amber Leighton (<a href="/players/P___100711/default.aspx" style='text-decoration:underline'>Madonna</a>) is the wife of Dr. Anthony Leighton (<a href="/players/P____28600/default.aspx" style='text-decoration:underline'>Bruce Greenwood</a>), the wealthy and successful head of a pharmaceutical company. While Amber seemingly leads a charmed life, it doesn't appear to make her very happy, and she often inflicts her typically foul mood on those around her, especially the hired help. Anthony decides to surprise Amber with a cruise from Italy to Greece, with four of their friends in tow, but Amber doesn't much care for the notion. Amber feels the yacht they've hired is far beneath her standards, and she makes Giuseppe (Adriano Giannini), the first mate of the crew, the primary target of her dissatisfaction. Giuseppe, an ardent leftist, feels nothing but contempt for Amber, but for the sake of his job he can't say a word in response to her attacks. One day, Amber declines an invitation to go diving with her friends, but later changes her mind, demanding that Giuseppe take her to the underwater caves. Giuseppe warns Amber that a storm is brewing, and his prediction proves to be right on the money; soon, Amber and Giuseppe are stranded on a desert island, and suddenly they discover the tables are turned. Giuseppe, a trained fisherman and outdoorsman, knows how to survive on the island, while Amber is utterly helpless, and he forces her to cower under his commands in order to survive; before long, their mutual antagonism has begun to turn into something approaching unfettered lust. Adriano Giannini, who plays Giuseppe, is the son of <a href="/players/P____91430/default.aspx" style='text-decoration:underline'>Giancarlo Giannini</a>, who played the equivalent role in Wertmuller's original film. ~ Mark Deming, All Movie Guide5Slightly Tagged (1-5)582http://www.spout.com/ProductImages/t25828ndtfq.jpghttp://www.spout.com/films/Swept_Away/210780/default.aspxFilm http://www.spout.com/blogs/usesoap/archive/2008/10/12/36236.aspx Post By: usesoap
Post To: usesoap Blog
Post Date: 10/12/2008 8:57:34 PM
Body: With “RocknRolla” we are officially out of new threatening aquatic creatures for cinematic bad guys to dip their foes into. Sharks. Piranhas. Electric eels. Ill-tempered mutated sea bass. All of these little fishies have occupied a tank or two, used for a criminal dunking booth as a form of persuasion in films. Lenny Cole, the chief villain of Guy Ritchie's new crime caper is also a proprietor of such a nefarious aquarium. So what does he choose to stock in his pond of persuasion? Crawfish. Yes, that Louisiana delicacy that is little more than an overgrown Sea Monkey is what Lenny uses to taunt his victims. It's (hopefully) meant as a lark in Ritchie's assured return to form after misfiring with the disastrous “Swept Away” (starring wife Madonna) and the befuddling “Revolver.” “RocknRolla” creeps back into the underworld where he is most comfortable, populating it with yet another round of entertaining, three-dimensional, two-bit, one-track-minded ruffians who inhabit it. Lenny (played by Tom Wilkinson) is trying to score a real estate deal with a younger, leaner Russian “businessman” (played by Karel Rodan), but is soon realizing his way of lawlessness is slowly giving way to a more harsh, bitter brand of criminality. Meanwhile, his middling thugs get mixed up in the fracas, testing allegiances as well as each other's patience. One Two (played by “300's” Gerard Butler), Mumbles (played by Idris Elba), Handsome Bob (played by Tom Hardy), Archie (played by Mark Strong), and Johnny Quid (played by Tony Kebble), are all crossing paths and cracking skulls -- sometimes their own – in an attempt to pad their pockets with payoff. A scheming accountant (played by Thandie Newton) and a pair of seamy music executives (played by Jeremy Piven and Ludicris), also figure into the scheme. Through the thick British accents, it might be difficult to catch each and every line lobbed onto the criminal battlefield, but the film is immediately more discernible than his thoroughly confusing trip to Kabbalah-land, “Revolver.” Some may see “RocknRolla” as the director falling back on a crutch, cinematically. But it is a crutch that has served him well, and the director seems to have done some maturation in the years since he rocketed onto the landscape with “Lock, Stock and Two Smoking Barrels” and its follow-up “Snatch.” This film doesn't feel as hopped-up and antsy, allowing more exposition with some rather engaging characters. One scene in particular takes a Hitchcockian foot-chase – one that would typically be wrought with hyperkinetic editing and a thundering soundtrack – and adds an amusing twist to its conclusion that is as realistic as it is comical. The cast is primed and ready to groove with Ritchie's signature vibe, happily contributing moments of appropriate over-the-top histrionics and awkward humility, especially Wilkinson, Butler and Strong. Ritchie breaks no new ground as a director, with his visual flair on full display. But he has grown substantially as a writer, which elevates its gallery of goons to more than Tarantino-esque tough guys. The cast of “RocknRolla” can stand confidently beside the motley crews he's previously assembled on the screen.
]]>Mon, 13 Oct 2008 00:57:34 GMTusesoapusesoap Blog10/12/2008 8:57:34 PMWith &ldquo;RocknRolla&rdquo; we are officially out of new threatening aquatic creatures for cinematic bad guys to dip their foes into. Sharks. Piranhas. Electric eels. Ill-tempered mutated sea bass. All of these little fishies have occupied a tank or two, used for a criminal dunking booth as a form of persuasion in films. Lenny Cole, the chief villain of Guy Ritchie's new crime caper is also a proprietor of such a nefarious aquarium. So what does he choose to stock in his pond of persuasion? Crawfish. Yes, that Louisiana delicacy that is little more than an overgrown Sea Monkey is what Lenny uses to taunt his victims. It's (hopefully) meant as a lark in Ritchie's assured return to form after misfiring with the disastrous &ldquo;Swept Away&rdquo; (starring wife Madonna) and the befuddling &ldquo;Revolver.&rdquo; &ldquo;RocknRolla&rdquo; creeps back into the underworld where he is most comfortable, populating it with yet another round of entertaining, three-dimensional, two-bit, one-track-minded ruffians who inhabit it. Lenny (played by Tom Wilkinson) is trying to score a real estate deal with a younger, leaner Russian &ldquo;businessman&rdquo; (played by Karel Rodan), but is soon realizing his way of lawlessness is slowly giving way to a more harsh, bitter brand of criminality. Meanwhile, his middling thugs get mixed up in the fracas, testing allegiances as well as each other's patience. One Two (played by &ldquo;300's&rdquo; Gerard Butler), Mumbles (played by Idris Elba), Handsome Bob (played by Tom Hardy), Archie (played by Mark Strong), and Johnny Quid (played by Tony Kebble), are all crossing paths and cracking skulls -- sometimes their own &ndash; in an attempt to pad their pockets with payoff. A scheming accountant (played by Thandie Newton) and a pair of seamy music executives (played by Jeremy Piven and Ludicris), also figure into the scheme. Through the thick British accents, it might be difficult to catch each and every line lobbed onto the criminal battlefield, but the film is immediately more discernible than his thoroughly confusing trip to Kabbalah-land, &ldquo;Revolver.&rdquo; Some may see &ldquo;RocknRolla&rdquo; as the director falling back on a crutch, cinematically. But it is a crutch that has served him well, and the director seems to have done some maturation in the years since he rocketed onto the landscape with &ldquo;Lock, Stock and Two Smoking Barrels&rdquo; and its follow-up &ldquo;Snatch.&rdquo; This film doesn't feel as hopped-up and antsy, allowing more exposition with some rather engaging characters. One scene in particular takes a Hitchcockian foot-chase &ndash; one that would typically be wrought with hyperkinetic editing and a thundering soundtrack &ndash; and adds an amusing twist to its conclusion that is as realistic as it is comical. The cast is primed and ready to groove with Ritchie's signature vibe, happily contributing moments of appropriate over-the-top histrionics and awkward humility, especially Wilkinson, Butler and Strong. Ritchie breaks no new ground as a director, with his visual flair on full display. But he has grown substantially as a writer, which elevates its gallery of goons to more than Tarantino-esque tough guys. The cast of &ldquo;RocknRolla&rdquo; can stand confidently beside the motley crews he's previously assembled on the screen. http://www.spout.com/blogs/spoutblog/archive/2008/10/8/36037.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 10/8/2008 2:01:01 PM
Body: This review originally appeared during the Toronto Film Festival. Guy Ritchie’s RockNRolla opens in New York and LA today. Guy Ritchie has been getting a bad rap ever since the his impressive double header of Lock, Stock and Two Smoking Barrels and Snatch turned into the double whammy of becoming Mr. Madonna in 2000 and directing Swept Away in 2002. Ritchie was quickly heading for the bargain bin after that romantic comedy became a universal joke, topped as a target of derision perhaps only by Gigli. He returned to gangster fare with Revolver in 2005, but even with star and Ritchie alumnus Jason Statham, the film wasn’t well-received. So here we are three years later with yet another gangster-studded film, RocknRolla, this time with posterboy Gerard Butler in a leading role. Well, the good news is that this marks a return to the London underbelly that was laid down by Lock and Snatch: RocknRolla could rightfully be called the third film in a Ritchie trilogy. The bad news is that it’s a whole lot of flash and not much substance. Not that people go to Ritchie’s films expecting a dissertation on the human condition, but his movies do at least require you to follow along closely due to their labyrinthine plots. RocknRolla is no different, and although Butler seems to be the face of the film, he’s simply part of a large ensemble cast, and not the strongest player. The basic plot of the film involves One-Two (Butler) and his partner Mumbles (Idris Elba) as two low-rent hoods who spot a good real estate investment. They partner with a mob boss (Tom Wilkinson) with deep pockets to get things rolling, but he turns around and double-crosses them, and they owe him some serious dough. Meanwhile, the same mob boss gets involved with a Russian billionaire in a similar real estate deal. The Russian’s accountant (Thandie Newton) steps in and double crosses the Russian, and so you’ve got your basic mafia triangle of X owes money to Y who owes money to Z. As it turns out, the Russian loans his mystical good luck painting to the mob boss as a show of good faith, and this painting soon becomes the focus of the film once it is stolen by the mob boss’ stepson, Johnny Quid. The rest of the film turns into a search for the painting, which moves from character A to B to C with fluid ease, and there’s a violent conclusion that ties everything up, for the most part. The main problem with the film is that you just don’t care for most of the main characters, which isn’t that surprising when you consider a cast this large. However, The Big Chill also has a large cast, and you certainly care for people in that movie. (Also, I’ve just realized that comparing a Guy Ritchie movie to The Big Chill is probably one of the signs of the impending apocalypse.) The real stars of the film are Toby Kebbell, who plays the heroin-thin rockstar Johnny Quid in a loving homage to Sid Vicious (or to Gary Oldman in Sid & Nancy); Tom Wilkinson as the chrome-domed, Ray-Ban wearing crime boss Lenny Cole; and Mark Strong as Archie, Lenny’s right-hand enforcer. Honestly, you could have replaced Butler’s character with a dozen different actors, and these three actors would have shone just as brightly, despite being in an ensemble piece. Not that Butler isn’t competent. His portrayal of the criminal who just can’t seem to get things right isn’t nearly as over the top as King Leonidas, and he’s at his best in this movie when not in an action heavy vignettes. There’s an amusing scene where Thandie Newton and Butler are dancing at a wannabe rave thrown by Newton’s posh (but gay) husband. Their dancing is about on par with Marcia Brady’s “thumb dance” from The Brady Bunch. You can’t hear them over the din of the party, so you’re treated with cartoonish subtitles throughout the scene. Most of the humor in the movie comes from a pair of Russian hitmen who just won’t die, no matter what happens to them in one of the most amusing chase sequences I’ve ever seen, and from the awkward situation Butler’s character is put in after his best mate and fellow hood Handsome Bob confesses his love to him. Ritchie from the Lock, Stock days probably wouldn’t have approached a scene (and the ensuing scenes in which Butler may, or may not have helped his buddy out before a prison stint) seriously, but the 2008 version of the director decided it could be both amusing and touching. Ritchie told us that this film is meant to have at least one sequel, and you can read all about that in our upcoming interview. If Lock, Stock and Two Smoking Barrels still stands as Ritchie’s strongest film, with Snatch in second place, RockNRolla feels like a strong third in this trinity, and returns Ritchie to form. At the very least, it’s a fun leadup to Sherlock Holmes. Originally posted on:SpoutBlog
]]>Wed, 08 Oct 2008 18:01:01 GMTSpoutBlogSpoutBlog on spout.com10/8/2008 2:01:01 PMThis review originally appeared during the Toronto Film Festival. Guy Ritchie’s RockNRolla opens in New York and LA today. Guy Ritchie has been getting a bad rap ever since the his impressive double header of Lock, Stock and Two Smoking Barrels and Snatch turned into the double whammy of becoming Mr. Madonna in 2000 and directing Swept Away in 2002. Ritchie was quickly heading for the bargain bin after that romantic comedy became a universal joke, topped as a target of derision perhaps only by Gigli. He returned to gangster fare with Revolver in 2005, but even with star and Ritchie alumnus Jason Statham, the film wasn’t well-received. So here we are three years later with yet another gangster-studded film, RocknRolla, this time with posterboy Gerard Butler in a leading role. Well, the good news is that this marks a return to the London underbelly that was laid down by Lock and Snatch: RocknRolla could rightfully be called the third film in a Ritchie trilogy. The bad news is that it’s a whole lot of flash and not much substance. Not that people go to Ritchie’s films expecting a dissertation on the human condition, but his movies do at least require you to follow along closely due to their labyrinthine plots. RocknRolla is no different, and although Butler seems to be the face of the film, he’s simply part of a large ensemble cast, and not the strongest player. The basic plot of the film involves One-Two (Butler) and his partner Mumbles (Idris Elba) as two low-rent hoods who spot a good real estate investment. They partner with a mob boss (Tom Wilkinson) with deep pockets to get things rolling, but he turns around and double-crosses them, and they owe him some serious dough. Meanwhile, the same mob boss gets involved with a Russian billionaire in a similar real estate deal. The Russian’s accountant (Thandie Newton) steps in and double crosses the Russian, and so you’ve got your basic mafia triangle of X owes money to Y who owes money to Z. As it turns out, the Russian loans his mystical good luck painting to the mob boss as a show of good faith, and this painting soon becomes the focus of the film once it is stolen by the mob boss’ stepson, Johnny Quid. The rest of the film turns into a search for the painting, which moves from character A to B to C with fluid ease, and there’s a violent conclusion that ties everything up, for the most part. The main problem with the film is that you just don’t care for most of the main characters, which isn’t that surprising when you consider a cast this large. However, The Big Chill also has a large cast, and you certainly care for people in that movie. (Also, I’ve just realized that comparing a Guy Ritchie movie to The Big Chill is probably one of the signs of the impending apocalypse.) The real stars of the film are Toby Kebbell, who plays the heroin-thin rockstar Johnny Quid in a loving homage to Sid Vicious (or to Gary Oldman in Sid & Nancy); Tom Wilkinson as the chrome-domed, Ray-Ban wearing crime boss Lenny Cole; and Mark Strong as Archie, Lenny’s right-hand enforcer. Honestly, you could have replaced Butler’s character with a dozen different actors, and these three actors would have shone just as brightly, despite being in an ensemble piece. Not that Butler isn’t competent. His portrayal of the criminal who just can’t seem to get things right isn’t nearly as over the top as King Leonidas, and he’s at his best in this movie when not in an action heavy vignettes. There’s an amusing scene where Thandie Newton and Butler are dancing at a wannabe rave thrown by Newton’s posh (but gay) husband. Their dancing is about on par with Marcia Brady’s “thumb dance” from The Brady Bunch. You can’t hear them over the din of the party, so you’re treated with cartoonish subtitles throughout the scene. Most of the humor in the movie comes from a pair of Russian hitmen who just won’t die, no matter what happens to them in one of the most amusing chase sequences I’ve ever seen, and from the awkward situation Butler’s character is put in after his best mate and fellow hood Handsome Bob confesses his love to him. Ritchie from the Lock, Stock days probably wouldn’t have approached a scene (and the ensuing scenes in which Butler may, or may not have helped his buddy out before a prison stint) seriously, but the 2008 version of the director decided it could be both amusing and touching. Ritchie told us that this film is meant to have at least one sequel, and you can read all about that in our upcoming interview. If Lock, Stock and Two Smoking Barrels still stands as Ritchie’s strongest film, with Snatch in second place, RockNRolla feels like a strong third in this trinity, and returns Ritchie to form. At the very least, it’s a fun leadup to Sherlock Holmes. Originally posted on:SpoutBlog http://www.spout.com/blogs/tenenbaums/archive/2008/9/30/35724.aspx Post By: Tenenbaums
Post To: Tenenbaums Blog
Post Date: 9/30/2008 3:08:59 PM
Body: Wow. After a slow start, this movie really takes off. Though I love Snatch and Lock, Stock, it's reassuring to see that Guy Ritchie's talent can go in a different direction. That's not to say that he's completely abandoned his roots (which he might have done on the Swept Away remake....though I haven't seen it...) as there are trademark cinematography and editing touchs in addition to dialogue and content. Revolver reaffirms that Jason Statham is an actor with Ritchie and merely an action star without. He is at his dramatic best here and looks great next to the comedic masterwork in Snatch. Ritchie's new directions allow him to grow as a filmmaker and distance himself from the "he made the same movie twice" comments at the start of his career. I now trust him more as a writer/director and I'm really excited for Rocknrolla.
]]>Tue, 30 Sep 2008 19:08:59 GMTTenenbaumsTenenbaums Blog9/30/2008 3:08:59 PMWow. After a slow start, this movie really takes off. Though I love Snatch and Lock, Stock, it's reassuring to see that Guy Ritchie's talent can go in a different direction. That's not to say that he's completely abandoned his roots (which he might have done on the Swept Away remake....though I haven't seen it...) as there are trademark cinematography and editing touchs in addition to dialogue and content. Revolver reaffirms that Jason Statham is an actor with Ritchie and merely an action star without. He is at his dramatic best here and looks great next to the comedic masterwork in Snatch. Ritchie's new directions allow him to grow as a filmmaker and distance himself from the "he made the same movie twice" comments at the start of his career. I now trust him more as a writer/director and I'm really excited for Rocknrolla. http://www.spout.com/blogs/spoutblog/archive/2008/9/6/34829.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 9/6/2008 9:00:33 AM
Body: Guy Ritchie has been getting a bad rap ever since the his impressive double header of Lock, Stock and Two Smoking Barrels and Snatch turned into the double whammy of becoming Mr. Madonna in 2000 and directing Swept Away in 2002. Ritchie was quickly heading for the bargain bin after that romantic comedy became a universal joke, topped as a target of derision perhaps only by Gigli. He returned to gangster fare with Revolver in 2005, but even with star and Ritchie alumnus Jason Statham, the film wasn’t well-received. So here we are three years later with yet another gangster-studded film, RocknRolla, this time with posterboy Gerard Butler in a leading role. Well, the good news is that this marks a return to the London underbelly that was laid down by Lock and Snatch: RocknRolla could rightfully be called the third film in a Ritchie trilogy. The bad news is that it’s a whole lot of flash and not much substance. Not that people go to Ritchie’s films expecting a dissertation on the human condition, but his movies do at least require you to follow along closely due to their labyrinthine plots. RocknRolla is no different, and although Butler seems to be the face of the film, he’s simply part of a large ensemble cast, and not the strongest player. The basic plot of the film involves One-Two (Butler) and his partner Mumbles (Idris Elba) as two low-rent hoods who spot a good real estate investment. They partner with a mob boss (Tom Wilkinson) with deep pockets to get things rolling, but he turns around and double-crosses them, and they owe him some serious dough. Meanwhile, the same mob boss gets involved with a Russian billionaire in a similar real estate deal. The Russian’s accountant (Thandie Newton) steps in and double crosses the Russian, and so you’ve got your basic mafia triangle of X owes money to Y who owes money to Z. As it turns out, the Russian loans his mystical good luck painting to the mob boss as a show of good faith, and this painting soon becomes the focus of the film once it is stolen by the mob boss’ stepson, Johnny Quid. The rest of the film turns into a search for the painting, which moves from character A to B to C with fluid ease, and there’s a violent conclusion that ties everything up, for the most part. The main problem with the film is that you just don’t care for most of the main characters, which isn’t that surprising when you consider a cast this large. However, The Big Chill also has a large cast, and you certainly care for people in that movie. (Also, I’ve just realized that comparing a Guy Ritchie movie to The Big Chill is probably one of the signs of the impending apocalypse.) The real stars of the film are Toby Kebbell, who plays the heroin-thin rockstar Johnny Quid in a loving homage to Sid Vicious (or to Gary Oldman in Sid & Nancy); Tom Wilkinson as the chrome-domed, Ray-Ban wearing crime boss Lenny Cole; and Mark Strong as Archie, Lenny’s right-hand enforcer. Honestly, you could have replaced Butler’s character with a dozen different actors, and these three actors would have shone just as brightly, despite being in an ensemble piece. Not that Butler isn’t competent. His portrayal of the criminal who just can’t seem to get things right isn’t nearly as over the top as King Leonidas, and he’s at his best in this movie when not in an action heavy vignettes. There’s an amusing scene where Thandie Newton and Butler are dancing at a wannabe rave thrown by Newton’s posh (but gay) husband. Their dancing is about on par with Marcia Brady’s “thumb dance” from The Brady Bunch. You can’t hear them over the din of the party, so you’re treated with cartoonish subtitles throughout the scene. Most of the humor in the movie comes from a pair of Russian hitmen who just won’t die, no matter what happens to them in one of the most amusing chase sequences I’ve ever seen, and from the awkward situation Butler’s character is put in after his best mate and fellow hood Handsome Bob confesses his love to him. Ritchie from the Lock, Stock days probably wouldn’t have approached a scene (and the ensuing scenes in which Butler may, or may not have helped his buddy out before a prison stint) seriously, but the 2008 version of the director decided it could be both amusing and touching. Ritchie told us that this film is meant to have at least one sequel, and you can read all about that in our upcoming interview. If Lock, Stock and Two Smoking Barrels still stands as Ritchie’s strongest film, with Snatch in second place, RockNRolla feels like a strong third in this trinity, and returns Ritchie to form. At the very least, it’s a fun leadup to Sherlock Holmes. Originally posted on:SpoutBlog
]]>Sat, 06 Sep 2008 13:00:33 GMTSpoutBlogSpoutBlog on spout.com9/6/2008 9:00:33 AM Guy Ritchie has been getting a bad rap ever since the his impressive double header of Lock, Stock and Two Smoking Barrels and Snatch turned into the double whammy of becoming Mr. Madonna in 2000 and directing Swept Away in 2002. Ritchie was quickly heading for the bargain bin after that romantic comedy became a universal joke, topped as a target of derision perhaps only by Gigli. He returned to gangster fare with Revolver in 2005, but even with star and Ritchie alumnus Jason Statham, the film wasn’t well-received. So here we are three years later with yet another gangster-studded film, RocknRolla, this time with posterboy Gerard Butler in a leading role. Well, the good news is that this marks a return to the London underbelly that was laid down by Lock and Snatch: RocknRolla could rightfully be called the third film in a Ritchie trilogy. The bad news is that it’s a whole lot of flash and not much substance. Not that people go to Ritchie’s films expecting a dissertation on the human condition, but his movies do at least require you to follow along closely due to their labyrinthine plots. RocknRolla is no different, and although Butler seems to be the face of the film, he’s simply part of a large ensemble cast, and not the strongest player. The basic plot of the film involves One-Two (Butler) and his partner Mumbles (Idris Elba) as two low-rent hoods who spot a good real estate investment. They partner with a mob boss (Tom Wilkinson) with deep pockets to get things rolling, but he turns around and double-crosses them, and they owe him some serious dough. Meanwhile, the same mob boss gets involved with a Russian billionaire in a similar real estate deal. The Russian’s accountant (Thandie Newton) steps in and double crosses the Russian, and so you’ve got your basic mafia triangle of X owes money to Y who owes money to Z. As it turns out, the Russian loans his mystical good luck painting to the mob boss as a show of good faith, and this painting soon becomes the focus of the film once it is stolen by the mob boss’ stepson, Johnny Quid. The rest of the film turns into a search for the painting, which moves from character A to B to C with fluid ease, and there’s a violent conclusion that ties everything up, for the most part. The main problem with the film is that you just don’t care for most of the main characters, which isn’t that surprising when you consider a cast this large. However, The Big Chill also has a large cast, and you certainly care for people in that movie. (Also, I’ve just realized that comparing a Guy Ritchie movie to The Big Chill is probably one of the signs of the impending apocalypse.) The real stars of the film are Toby Kebbell, who plays the heroin-thin rockstar Johnny Quid in a loving homage to Sid Vicious (or to Gary Oldman in Sid & Nancy); Tom Wilkinson as the chrome-domed, Ray-Ban wearing crime boss Lenny Cole; and Mark Strong as Archie, Lenny’s right-hand enforcer. Honestly, you could have replaced Butler’s character with a dozen different actors, and these three actors would have shone just as brightly, despite being in an ensemble piece. Not that Butler isn’t competent. His portrayal of the criminal who just can’t seem to get things right isn’t nearly as over the top as King Leonidas, and he’s at his best in this movie when not in an action heavy vignettes. There’s an amusing scene where Thandie Newton and Butler are dancing at a wannabe rave thrown by Newton’s posh (but gay) husband. Their dancing is about on par with Marcia Brady’s “thumb dance” from The Brady Bunch. You can’t hear them over the din of the party, so you’re treated with cartoonish subtitles throughout the scene. Most of the humor in the movie comes from a pair of Russian hitmen who just won’t die, no matter what happens to them in one of the most amusing chase sequences I’ve ever seen, and from the awkward situation Butler’s character is put in after his best mate and fellow hood Handsome Bob confesses his love to him. Ritchie from the Lock, Stock days probably wouldn’t have approached a scene (and the ensuing scenes in which Butler may, or may not have helped his buddy out before a prison stint) seriously, but the 2008 version of the director decided it could be both amusing and touching. Ritchie told us that this film is meant to have at least one sequel, and you can read all about that in our upcoming interview. If Lock, Stock and Two Smoking Barrels still stands as Ritchie’s strongest film, with Snatch in second place, RockNRolla feels like a strong third in this trinity, and returns Ritchie to form. At the very least, it’s a fun leadup to Sherlock Holmes. Originally posted on:SpoutBlog http://www.spout.com/blogs/karina/archive/2008/3/18/26355.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 3/18/2008 1:02:47 PM
Body: Guess what? Regurgitating gossip about Madonna and Guy Ritchie’s marriage is now fair game for movie blogs, because they’re both filmmakers now! Yay! Or, I mean, boo––I must protect my integrity and not get swept up in the promise of search-propelled page views. I don’t even know anymore! Oh, Madonna––life IS a mystery, isn’t it? Anyway. Page Six is reporting that Madonna has fallen out of love with the man who remade Swept Away for her, because she’s realised that he’s not quite the street urchin she thought he was: “Madonna is said to have lost respect for Ritchie when she found out he had embellished his past,” one in-the-know Briton told us. “Far from the tough, working-class London dude he adoringly echoed in Lock, Stock and Two Smoking Barrels, he’s actually a privileged, prep school boy who chose to affect a gangland accent and walk with a street swagger. Brits can spot this at 100 yards, or hear it in an accent. Yanks, alas, can’t.” I’m sure I don’t speak for all “Yanks”––I am half-British, after all––but I always thought that *was* Guy Ritchie’s schtick, that he was a suburban kid who had as much first-hand experience with actual gun runners and gangsters as Quentin Tarantino had with hit men and Japanese mafia queens. Is that, really, the reason why the then-happy couple’s Swept Away was so awful––beyond the fact that Madonna was in it, beyond the fact that Lena Wertmuller’s film really didn’t need to be remade––because Ritchie couldn’t wrap his head around what was sexy (or funny, even) about a rich woman being dominated by a proletariat? Originally posted on:SpoutBlog » karina
]]>Tue, 18 Mar 2008 17:02:47 GMTKarinaKarina on SpoutBlog3/18/2008 1:02:47 PMGuess what? Regurgitating gossip about Madonna and Guy Ritchie’s marriage is now fair game for movie blogs, because they’re both filmmakers now! Yay! Or, I mean, boo––I must protect my integrity and not get swept up in the promise of search-propelled page views. I don’t even know anymore! Oh, Madonna––life IS a mystery, isn’t it? Anyway. Page Six is reporting that Madonna has fallen out of love with the man who remade Swept Away for her, because she’s realised that he’s not quite the street urchin she thought he was: “Madonna is said to have lost respect for Ritchie when she found out he had embellished his past,” one in-the-know Briton told us. “Far from the tough, working-class London dude he adoringly echoed in Lock, Stock and Two Smoking Barrels, he’s actually a privileged, prep school boy who chose to affect a gangland accent and walk with a street swagger. Brits can spot this at 100 yards, or hear it in an accent. Yanks, alas, can’t.” I’m sure I don’t speak for all “Yanks”––I am half-British, after all––but I always thought that *was* Guy Ritchie’s schtick, that he was a suburban kid who had as much first-hand experience with actual gun runners and gangsters as Quentin Tarantino had with hit men and Japanese mafia queens. Is that, really, the reason why the then-happy couple’s Swept Away was so awful––beyond the fact that Madonna was in it, beyond the fact that Lena Wertmuller’s film really didn’t need to be remade––because Ritchie couldn’t wrap his head around what was sexy (or funny, even) about a rich woman being dominated by a proletariat? Originally posted on:SpoutBlog » karina http://www.spout.com/blogs/spoutblog/archive/2008/3/18/26354.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 3/18/2008 1:02:37 PM
Body: Guess what? Regurgitating gossip about Madonna and Guy Ritchie’s marriage is now fair game for movie blogs, because they’re both filmmakers now! Yay! Or, I mean, boo––I must protect my integrity and not get swept up in the promise of search-propelled page views. I don’t even know anymore! Oh, Madonna––life IS a mystery, isn’t it? Anyway. Page Six is reporting that Madonna has fallen out of love with the man who remade Swept Away for her, because she’s realised that he’s not quite the street urchin she thought he was: “Madonna is said to have lost respect for Ritchie when she found out he had embellished his past,” one in-the-know Briton told us. “Far from the tough, working-class London dude he adoringly echoed in Lock, Stock and Two Smoking Barrels, he’s actually a privileged, prep school boy who chose to affect a gangland accent and walk with a street swagger. Brits can spot this at 100 yards, or hear it in an accent. Yanks, alas, can’t.” I’m sure I don’t speak for all “Yanks”––I am half-British, after all––but I always thought that *was* Guy Ritchie’s schtick, that he was a suburban kid who had as much first-hand experience with actual gun runners and gangsters as Quentin Tarantino had with hit men and Japanese mafia queens. Is that, really, the reason why the then-happy couple’s Swept Away was so awful––beyond the fact that Madonna was in it, beyond the fact that Lena Wertmuller’s film really didn’t need to be remade––because Ritchie couldn’t wrap his head around what was sexy (or funny, even) about a rich woman being dominated by a proletariat? Originally posted on:SpoutBlog
]]>Tue, 18 Mar 2008 17:02:37 GMTSpoutBlogSpoutBlog on spout.com3/18/2008 1:02:37 PMGuess what? Regurgitating gossip about Madonna and Guy Ritchie’s marriage is now fair game for movie blogs, because they’re both filmmakers now! Yay! Or, I mean, boo––I must protect my integrity and not get swept up in the promise of search-propelled page views. I don’t even know anymore! Oh, Madonna––life IS a mystery, isn’t it? Anyway. Page Six is reporting that Madonna has fallen out of love with the man who remade Swept Away for her, because she’s realised that he’s not quite the street urchin she thought he was: “Madonna is said to have lost respect for Ritchie when she found out he had embellished his past,” one in-the-know Briton told us. “Far from the tough, working-class London dude he adoringly echoed in Lock, Stock and Two Smoking Barrels, he’s actually a privileged, prep school boy who chose to affect a gangland accent and walk with a street swagger. Brits can spot this at 100 yards, or hear it in an accent. Yanks, alas, can’t.” I’m sure I don’t speak for all “Yanks”––I am half-British, after all––but I always thought that *was* Guy Ritchie’s schtick, that he was a suburban kid who had as much first-hand experience with actual gun runners and gangsters as Quentin Tarantino had with hit men and Japanese mafia queens. Is that, really, the reason why the then-happy couple’s Swept Away was so awful––beyond the fact that Madonna was in it, beyond the fact that Lena Wertmuller’s film really didn’t need to be remade––because Ritchie couldn’t wrap his head around what was sexy (or funny, even) about a rich woman being dominated by a proletariat? Originally posted on:SpoutBlog http://www.spout.com/blogs/karina/archive/2007/12/27/23254.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 12/27/2007 2:01:09 PM
Body: Yes, that Madonna. The one who essentially hammered the final nail into the coffin of her acting career by convincing husband Guy Ritchie to cast her in a remake of Swept Away, whose influence then led said husband to further imperil his own filmmaking career by making Revolver, which apparently amounted to “one long advertisement for Kabbalah” in Ritchie’s patented Brit-gangster clothing. Now seemingly adhering to the adage that if one wants such a thing done right, she’s got to do it herself, Madonna has directed a long short/short feature called Filth and Wisdom. According to Variety, it’ll premiere on the Panorama sidebar at the Berlin International Film Festival in February. This story back in May described Filth as “a comedy based on the star’s own experiences,” about an “Indian chemist owner, a Jewish businessman, and a failed ballet dancer who becomes a pole dancer.” The same story said the film would likely come in at 30 minutes; according to IMDb, the current cut (which is apparently in English AND Russian) is more like 45. IMDb also informs us that the film stars Richard E. Grant and Eugene Hutz of Gogol Bordello, who apparently appear in the band’s entirety as themselves. I don’t have anything else to say about this. I would rather watch the video above and just sort of guiltily sink into deep nostalgia for 1990. Originally posted on:SpoutBlog » karina
]]>Thu, 27 Dec 2007 19:01:09 GMTKarinaKarina on SpoutBlog12/27/2007 2:01:09 PM Yes, that Madonna. The one who essentially hammered the final nail into the coffin of her acting career by convincing husband Guy Ritchie to cast her in a remake of Swept Away, whose influence then led said husband to further imperil his own filmmaking career by making Revolver, which apparently amounted to “one long advertisement for Kabbalah” in Ritchie’s patented Brit-gangster clothing. Now seemingly adhering to the adage that if one wants such a thing done right, she’s got to do it herself, Madonna has directed a long short/short feature called Filth and Wisdom. According to Variety, it’ll premiere on the Panorama sidebar at the Berlin International Film Festival in February. This story back in May described Filth as “a comedy based on the star’s own experiences,” about an “Indian chemist owner, a Jewish businessman, and a failed ballet dancer who becomes a pole dancer.” The same story said the film would likely come in at 30 minutes; according to IMDb, the current cut (which is apparently in English AND Russian) is more like 45. IMDb also informs us that the film stars Richard E. Grant and Eugene Hutz of Gogol Bordello, who apparently appear in the band’s entirety as themselves. I don’t have anything else to say about this. I would rather watch the video above and just sort of guiltily sink into deep nostalgia for 1990. Originally posted on:SpoutBlog » karina http://www.spout.com/blogs/spoutblog/archive/2007/12/27/23253.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 12/27/2007 2:01:01 PM
Body: Yes, that Madonna. The one who essentially hammered the final nail into the coffin of her acting career by convincing husband Guy Ritchie to cast her in a remake of Swept Away, whose influence then led said husband to further imperil his own filmmaking career by making Revolver, which apparently amounted to “one long advertisement for Kabbalah” in Ritchie’s patented Brit-gangster clothing. Now seemingly adhering to the adage that if one wants such a thing done right, she’s got to do it herself, Madonna has directed a long short/short feature called Filth and Wisdom. According to Variety, it’ll premiere on the Panorama sidebar at the Berlin International Film Festival in February. This story back in May described Filth as “a comedy based on the star’s own experiences,” about an “Indian chemist owner, a Jewish businessman, and a failed ballet dancer who becomes a pole dancer.” The same story said the film would likely come in at 30 minutes; according to IMDb, the current cut (which is apparently in English AND Russian) is more like 45. IMDb also informs us that the film stars Richard E. Grant and Eugene Hutz of Gogol Bordello, who apparently appear in the band’s entirety as themselves. I don’t have anything else to say about this. I would rather watch the video above and just sort of guiltily sink into deep nostalgia for 1990. Originally posted on:SpoutBlog
]]>Thu, 27 Dec 2007 19:01:01 GMTSpoutBlogSpoutBlog on spout.com12/27/2007 2:01:01 PM Yes, that Madonna. The one who essentially hammered the final nail into the coffin of her acting career by convincing husband Guy Ritchie to cast her in a remake of Swept Away, whose influence then led said husband to further imperil his own filmmaking career by making Revolver, which apparently amounted to “one long advertisement for Kabbalah” in Ritchie’s patented Brit-gangster clothing. Now seemingly adhering to the adage that if one wants such a thing done right, she’s got to do it herself, Madonna has directed a long short/short feature called Filth and Wisdom. According to Variety, it’ll premiere on the Panorama sidebar at the Berlin International Film Festival in February. This story back in May described Filth as “a comedy based on the star’s own experiences,” about an “Indian chemist owner, a Jewish businessman, and a failed ballet dancer who becomes a pole dancer.” The same story said the film would likely come in at 30 minutes; according to IMDb, the current cut (which is apparently in English AND Russian) is more like 45. IMDb also informs us that the film stars Richard E. Grant and Eugene Hutz of Gogol Bordello, who apparently appear in the band’s entirety as themselves. I don’t have anything else to say about this. I would rather watch the video above and just sort of guiltily sink into deep nostalgia for 1990. Originally posted on:SpoutBlog http://www.spout.com/members/0/tags/island/MemberTagFilms.aspxisland
Number of films tagged: 1021

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