#NNPA BlackPress

FILM REVIEW: The Gentlemen

NNPA NEWSWIRE — Writer/director Guy Ritchie, coined a style of staccato crime/thriller moviemaking that is dense, filled with characters, laden with cheeky graphic language, sexy, often ultra-violent and cast with teams of multicultural British actors. The Gentlemen is an imperfect return to form.

Published

5 years ago

January 23, 2020

Oakland Post

Henry Golding, Matthew MacConaughey and Charlie Hunnam in “The Gentlemen.”

By Dwight Brown, NNPA Newswire Film Critic

It’s a sign of the times. Marijuana, which has been illegal in so many places for so long, is about to go legit in the United Kingdom. Anyone who’s been dealing dope in the shadows can come into the light.

That’s the position American expat Mickey Pearson (Matthew McConaughey) finds himself in. He’s been the ghost boss of a thriving reefer empire in London, England, his new home. Thugs, growers and dealers report to him. Weed liberation is just around the corner, and he’s fully prepared to profit in what is likely be a very lucrative industry.

Charlie Hunnamand Hugh Grant in “The Gentlemen.”

The dude knows he’s large and in charge. And the saying goes: “If you want to be the king of the jungle, you must act like the king of the jungle.” He’s wise enough to be shopping his business around to the highest bidder. He cultivates a gay, cunning and filthy rich billionaire buyer named Matthew (Jeremy Strong, The Big Short), who seizes on business opportunities. Mickey, his wife Rosalind (Michelle Dockery, Downton Abbey), righthand man Ray (Charlie Hunnam, TV’s Sons of Anarchy) and a protective thug named Bunny (Chidi Ajufo, The Widow) are setting themselves up for a big pay day.

Various scoundrels are just as determined to undermine, rob or murder them: There’s Dry Eye (Henry Golding, Crazy Rich Asians) and his crew of saboteurs. The Coach (Colin Farrell, In Burges) and his adolescent gang. The Asian crook Lord George (Tom Wu, Fast & Furious Presents: Hobbs & Shaw). They all fit into the mix. Hands down the most duplicitous one in the bunch is that snooping bugger private investigator Fletcher (Hugh Grant, Four Weddings and a Funeral). He’s never met anyone he couldn’t swindle or blackmail. Drugs, money, loaded guns. What could go wrong?

Michelle Dockery and Matthew McConaughey in “The Gentlemen.”

Writer/director Guy Ritchie, a former video/commercial director turned filmmaker, made his big splash feature film debut with the very clever crime movie Lock, Stock and Two Smoking Barrels. He coined a style of staccato crime/thriller moviemaking that is dense, filled with characters, laden with cheeky graphic language, sexy, often ultra-violent and cast with teams of multicultural British actors. Snatch and RocknRolla followed this pattern. Sherlock Holmes and Aladdin did not. The Gentlemen is an imperfect return to form. As Ritchie wipes away the cobwebs on his signature writing/directing style, he misses a few ingredients—especially breakneck pacing.

The script uses an overabundance of voiceovers and conversations and too many onscreen narrations by Fletcher. Though Hugh Grant is completely charming, he runs his mouth way too much. His recollections are realized in flashbacks, where there is double-dealing, death and betrayals. There’s some of that in the present too. Deciphering it all is like peeling layers off an onion that smells more intensely as you get to the core.

The difference between this clunky piece of storytelling and Lock… or Snatch is that you’re frustrated during the process and not always gleeful. There are lots of stagnant scenes where the pacing (editor James Herbert, Aladdin) grinds to a halt and will test your patience. That’s when your eyes focus on the way too obvious sets (production designer Gemma Jackson and set decorator Sara Whittle) and the neatly pressed clothes (Michael Wilkinson, American Hustle) that look so new you’ll think they’ve still got price tags on them.

Colin Farrell and Charlie Hunnam in “The Gentlemen.”

The wordy script may be a problem, less for adult viewers, more for casual action/thriller fans. But Ritchie’s overall direction of the action scenes, dramatic moments, murders, and swindling is not. In fact, even though he is not at the peak of his game, his style and swagger is still ultra-cool. The cinematographer (Alan Stewart, Aladdin) has a good eye for composition and lighting. The visuals, coupled with a very fun musical score (Christopher Benstead, Gravity) and toe-thumping playlist give the film a rebellious spirit that carries it to the finish line.

Most of the cast looks like they just stepped out of a GQ photo shoot. McConaughey has an air about him that is even more imperialistic than British royalty. Hunnam as Ray is like a hamster in a cage finding out that he’s being played. Strong is suitably sneaky as the buyer. Farrell brings a touch of dry humor to the Coach. Golding, Wu and Ajufo are fun to watch.

But hats off to Grant as the scene stealer. He does whatever he has to do to make Fletcher look like complete scum. If anything, the dazzling Michelle Dockery is not in enough scenes and ditto for the other few actresses who don’t get enough screen time. This is a boy’s club movie.

Time marches on. That youthful swagger that formally burned through Guy Ritchie’s creative soul has matured. So has his selection of actors. Come for the fun of it, sit through the cumbersome storytelling, find a way to enjoy the puzzling antics and you may experience the heady joy of this gangsta caper.

Visit NNPA News Wire Film Critic Dwight Brown at DwightBrownInk.com and BlackPressUSA.com.

Oakland Post

Posts by Oakland Post

Up Next

FILM REVIEW: Bad Boys for Life

Don't Miss

COMMENTARY: The Values Of A King: “Dr. King was Relentless’

Oakland Post

Click to comment

#NNPA BlackPress

OP-ED: The Illusion of Allyship. White Women, Your Yard Signs Mean Nothing to Me

NNPA NEWSWIRE – “The blue bracelets are something White women are wearing so others can see that they didn’t vote for Trump,” says Liberal Lisa from Oklahoma on X. Chile, bye. These bracelets are hollow symbols, empty gestures that mean nothing to me. An accessory to claim distance from Trump’s legacy is superficial comfort, while the choice to not stand with us in the voting booth is far more profound.

Published

2 weeks ago

November 9, 2024

Oakland Post

Political yard signs can symbolize intentions and allegiance. But this year, they’ve also symbolized betrayal. During this general election, Black women were led to believe that more White women would stand with us. Exit polls, however, told a different story. Despite overwhelming displays of support, more White women still chose to vote for the convicted felon, reality TV star, and rapist. White women answered the call but left us hanging at the polls.

A Familiar Disappointment

I live in DeKalb County, Georgia, and the abundance of Harris-Walz yard signs could’ve fooled me. But I’ve seen this before, back when Stacey Abrams ran for governor. White women showed up, put up signs, attended rallies, knocked on doors, and phone-banked. Yet, when it came time to vote, they let us down—not once but twice. I’ve been here for over 15 years, and if there’s one thing I know, it’s that political signs are symbols without weight.

In every election, I’ve talked with White women. Most aren’t the primary earners in their families and vote along party lines, aligning with the preferences of their fathers and husbands. These conversations reveal a reluctance to break from tradition, even when their votes affect women and certainly when their votes impact the lives of people who look like me.

The Illusion of Solidarity—Symbols Are Not Enough

On social media, I’m seeing White women posting pictures of blue bracelets to “prove” they didn’t vote for Trump. “The blue bracelets are something White women are wearing so others can see that they didn’t vote for Trump,” says Liberal Lisa from Oklahoma on X. Chile, bye. These bracelets are hollow symbols, empty gestures that mean nothing to me. An accessory to claim distance from Trump’s legacy is superficial comfort, while the choice to not stand with us in the voting booth is far more profound.

I’ve seen Black Lives Matter signs and black squares posted on Instagram to “prove” support for Black people, but we now know that was a lie, too. Will those same people who claimed Black lives mattered now take down their Harris-Walz signs and show their true selves?

Navigating these truths is a daily struggle for me—professionally and socially. White women often misuse their privilege, supporting us only when it’s convenient. Seeing overqualified Black women sabotaged or abandoned by White women at critical moments is a constant emotional challenge. It’s exhausting to live with this reality, especially when solidarity seems like something they pick up and discard at will.

One clever campaign ad from Harris-Walz that spoke directly to White women. “Your Vote, Your Choice” emphasized that their vote was private—independent of their household situation. Another was from Olivia Howell Dreizen, the “Vote Without Fear” campaign, which empowered women to consider the greater impact of their choices. But it seems many still couldn’t choose the roadmap to freedom—even when it was handed to them.

A Call for Action Beyond Words

White women, I want to believe you care, but actions speak louder than yard signs, bracelets, or Instagram posts. Show up in our communities, advocate in your workplaces, and stand up to dismantle the structures that uphold white supremacy. Only through real action will we know where you stand.

If you choose not to act, we see you—and we know exactly where you stand. Good luck these next four years.

Disclaimer: The views and opinions expressed in this article do not necessarily reflect the official policy or position of BlackPressUSA.com or the National Newspaper Publishers Association.

Oakland Post

Posts by Oakland Post

#NNPA BlackPress

Supernova Parenting Conference Empowers Over 100 Parents with Resources for Neurodivergence and Mental Health

The inaugural Supernova Parenting Conference was co-hosted by Natasha Nelson, known as Supernova Momma, and Yolanda Walker, founder of Parenting Decolonized. It brought together over 100 parents, caregivers, and educators dedicated to fostering understanding and support for neurodivergent children and mental health challenges. The conference provided invaluable resources, expert insights, and a collaborative space for […]

Published

2 weeks ago

November 7, 2024

BlackPressUSA.com

The event featured a variety of workshops, panel discussions, and keynote speeches from leading experts in neurodiversity and mental health. Attendees left with practical tools and strategies to enhance their parenting journeys, emphasizing the importance of understanding and supporting the unique needs of neurodivergent children.

“While the conference was a tremendous success, we believe that our work doesn’t end here,” said Natasha Nelson. “It’s crucial to continue providing ongoing support and resources for parents as they navigate this important journey. We want to ensure families can access the tools they need long after the conference.”

To extend the momentum generated at the conference, Natasha and Yolanda are excited to announce the launch of the Supernova Parenting Community. This membership-based initiative aims to offer a safe and supportive environment for parents and caregivers to continue their growth as conscious parents.

Membership is available for as little as $5 a month via Patreon, making it accessible for all families seeking support.

“We know that parenting can be a challenging journey, especially when navigating neurodivergence and mental health issues,” Yolanda Walker added. “Our goal is to build a community where parents feel seen, heard, and supported. We hope you’ll join us in this vital work.”

For more information about the Supernova Parenting Community and to sign up for membership, please visit supernovaparenting.org