RocknRolla

RocknRolla (***)

Nine and eight years respectively since Guy Ritchie put himself on the map as a director with his British crime flicks Lock, Stock, and Two Smoking Barrels, and Snatch, Ritchie tries to again make himself known as something other than the dude that was married to Madonna with his latest offering, RocknRolla. The movie is a lot like its spiritual predecessor Snatch in that it continuously jumps back and forth between different characters in different parts of the London crime world, whose stories eventually converge as the movie reaches its climax. In Snatch, the movie dealt with an unlicensed bare-knuckle boxing ring, certain elements of which eventually converged with a diamond heist gone wrong. In RocknRolla, the crime that is the centerpiece of the movie is a little more white collar, dealing with back-channel real estate deals, but as the story develops it eventually begins to involve all manner of degenerates, from junkies who sell stolen clothes, to sports bookies, to sadistic Russian mobsters.

Early on in the movie we meet Lenny Cole, played by the always excellent Tom Wilkinson, who doesn't fancy himself a gangster, but is quick to point out proudly that he "owns London". Despite being an angry old bastard who's suspicious of "the immigrants" he finds himself making a deal with a Russian businessman who wants to build a huge arena but doesn't have the permits for it. He even lets Lenny borrow his lucky painting to solidify their partnership. The shit hits the fan, however, when the painting is stolen from Lenny's office and Lenny quickly deploys his right-hand man, Archie, to scour the area for whoever stole it. Archie is in some ways reminiscent unnamed main character of Layer Cake, which I coincidentally just watched pretty recently. He seems devoted to his job, but also seems sort of detached and a bit weary of it. Beyond that we never really learn much about him until we get a big revelation about Lenny at the end that affects Archie quite personally.

Elsewhere, we meet a trio of guys named One-Two, Mumbles, and Handsome Bob (probably not their birth names, gonna go out on a limb there), who are still low on the London crime totem-pole, and so to get money they accept "a bit of work" whenever they can get it. For one job in particular, One-Two--played by Gerald Butler, who doesn't yell constantly like he did in 300, but often times still has that same goofy grin on his face as when he played Leonidas--meets up with Stella, who wants them to secure a bit of money, of which they'd get a cut. Stella (played by Thandie Newton, who I barely recognized in this role, but played Condi Rice in W and the woman who gets felt up by Matt Dillon in Crash) is an icy-cold vixen sort of character, and has a sort of alluring aura of mystery about her. She's one of the more interesting characters in the movie. At it turns out, Stella is working for the Russians as an accountant (the kind that can be "creative" with numbers), and the money they're stealing is the Russians' money. This leads to all kinds of finger pointing, and then all manner of violence between Lenny's group and the Russians.

At the same time all of this is going on, Johnny Quid--rock star and estranged step-son of Lenny--has sequestered himself on a drug binge after faking his own death. When its revealed that his presence will be necessary to make everyone involved in the real-estate deal not want to kill each other, his two record producers, played by Ludcaris and Jeremy Piven, have to go looking for him. Their characters aren't without their charms, but their sections of the film are probably the least interesting.

Even though everything comes together at the end of RocknRolla in much the same way that everything comes together at the last boxing match at the end of Snatch, the whole product wasn't quite as satisfying to me. There are certainly a lot of similar examples of sharp writing and ingenious one-off bits--like when One-Two goes out of his way to taunt a slightly pudgy Russian mobster as he outruns him down a set of train tracks--that make you realize why you like this sort of genre in the first place. At the same time, however, Lenny's character, while well-devised and well-played by Tom Wilkinson, doesn't project the same sort of evil and dread that the boxing promoter did in Snatch (I'll never forget the scene where he helps himself to some of Jason Statham's coffee and announces chillingly: "No sugar for me. I'm sweet enough!"), and the quick jump cuts between characters seem somewhat more muddled and don't give you quite the same sense of the plot headed towards an explosive climax. At any rate, if you're a fan of Guy Ritchie's previous stuff, or British crime dramas in general, you'll certainly enjoy this movie. Until next time, keep being a real rocknrolla.