The Raiders: "The Gentlemen" is a fun but racist, offensive, anti-Semitic and sexist crime movie

Guy Ritchie knows how to tell a story, knows how to edit and knows the band, and he uses all of these "gentlemen" skills to create the perfect crime movie for Boris Johnson, who appeals to the classic profile of the Barracks supporters. Jews, women and foreigners pay the price

The Raiders: "The Gentlemen" is a fun but racist, offensive, anti-Semitic and sexist crime movie

Movie Star Rating - 2 Star (Photo: Image Processing)

In the beginning was Tarantino and soon after came Guy Ritchie, who was inspired by a new sub-genre: gangster films with extreme violence, rhythmic editing, black humor, self-scripted script that plays with the plot rules and of course also accented British accents. In the 1990s, it worked out nicely: "Locke, Stoke and Two Smokes Nests" and "Snatch" were hits.

A decade later, his sticks left no impression. "Rivolber" and "Roconrole" were complete failures. Subsequently, the creator began directing other scripts and dealing with well-known brands, such as Sherlock Holmes and King Arthur, and recently proved that he could also excel in completely different, nonviolent genres, with his surprisingly successful reworking of Aladdin.

Now, Richie closes in a circle and returns to the kind of activity that characterized him early on, as if we were in the mid-1990s and not in the 2020s. This, with the original script he wrote for "The Gentlemen," also directed by him, which aired here and around the world this weekend.

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This commodity is in demand. From "The Gentlemen" (Photo: PR)

The gentlemen (Photo: United King, PR)

As best of Richie's tradition, the film is aware of itself and the genre rules behind it. The narrator here is actually a private investigator, played by Hugh Grant, the extortionist (Charlie Hanim) of an American drug baron (Matthew McConaughey). His findings, for some reason, he wrote in the form of a script, which he reads to his face and to us, with the two occasionally having a dialogue about the way the characters are going and the plot unfolds.

As usual, the frame story is very simple: struggles in the world of drug trafficking, but of course they evolve into a canon-rich, colorful saga: tabloid editor (Eddie Marsan), boxing coach (Colin Farrell), Jewish archivist (Jeremy Strong), An ambitious young gangster of Chinese origin (Henry Golding), a bunch of immigrant brats, a Russian boy who turns out to be out of business with his dad and a host of types.

Richie knows how to tell a story. Although the plot here is complicated and complex, it spreads it in a clear and clear, effervescent and engaging way. Such puzzles tend to fall apart, but the "gentlemen" actually get better as it progresses, and its suffix is ​​the most powerful and satisfying part of it. The final act brings to the climax the cinematic skill of the director, who excels in editing - the pace here is lithe, sweet and accurate.

Only one female character, and she, too, is humiliated. From "The Gentlemen" (Photo: PR)

The gentlemen (Photo: United King, PR)

Above all are the qualities of the game. With all due respect to Richie's previous crime films, even the best of them, there was no cadre of artisans as they are here, which would not embarrass Oscar-nominated biographical drama either. McConaughey, Farrell, Grant and others: They all do a great job, full of character and color, and most of all they seem to enjoy every second.

However, the movie has some issues. Back in the day, Richie copied Trentino himself, and this is where the tendency to recycle is even more pronounced, including a scene that shamelessly transcribes one of the most shaky key moments of "Black Mirror." The lack of originality highlights another, and more fundamental, problem - throughout watching, even in its fun moments, it's hard not to wonder why it's good, where the sting is and what the pointe is, as it's unclear why the "gentlemen" contribute, how it adds and why it is actually done.

If you can still offer an answer, it is more than a movie, "The Gentlemen" is an aggression. Richie enjoys stretching the boundaries of political correctness and identity politics, restoring everything that was allowed in the 1990s and tweeting about everything that is customary today. It's not a coincidence that there is an irrelevant section here to the plot's progress, in which the boxing coach explains to his trainees why they are allowed to bite each other in relation to their ethnicity, be blacks or gypsies, and use settings that may be perceived as offensive - "Don't be heavy," he tells his students , And that's what the director tells us.

Come on beating. From "The Gentlemen" (Photo: PR)

The gentlemen (Photo: United King, PR)

Seemingly, he shoots in every direction, but in fact marks clear limits. Inside: British, no matter what generation or skin color, unless they work in the media, then are labeled as enemies are taken away. Another condition - must be a man. There is only one female character here, and she is also shown in a degrading way and is condemned to a scene where there are allusions to anal rape.

Off the Line: Anyone who is not British and will be Russian or Chinese, then marked here as an enemy who comes to take over any good plot and has to be brutally hatched. Richie leaves the biggest blow to the Jews. Perhaps because of his well-known affinity for Judaism, Israel and Hebrew, which allows him to defend himself by claiming "some of my good friends are ...", he allows himself to describe the super villain here as the Rothschilds in nineteenth-century literature: greedy predator, Cunning and uncompromising.

A beautiful saying is that a gentleman never accidentally insults. "The Gentlemen" is bursting with cinematic talent, but also contempt and poison, and Richie seems to have thought carefully about how to use it. On the face of it, this is a sort of "Luke Stock" and "Snatch" movie that might have been made in the 1990s, but in fact is well-adjusted to the right, and appeals to the classic profile of the Barcasite supporters - that is, white men with foreign recoil and female power and hatred for elites.

The box office success of "The Gentlemen" proved just how rich Ritchie did well in Boris Johnson's era. No wonder that unlike his spiritual father Tarantino, who is already planning a lazy retirement, the British director is not going anywhere, and has even completed another crime movie. Like the merchants in his films, merchandise has a demand, and he intends to continue to supply it.

For one thing, there is no dispute: the players are excellent. From "The Gentlemen" (Photo: PR)

The gentlemen (Photo: United King, PR)