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Guy Ritchie’s Back, Baby!

When I first heard that Guy Ritchie’s newest film would be making its North American premiere at the Toronto International Film Festival, I wasn’t sure what to think. On the one hand, this is the guy who directed Snatch and Lock, Stock and Two Smoking Barrels, two of my favourite movies: fast-paced, extremely witty and oozing with a style so catchy it has been imitated (but never duplicated) many times over in the 10 years since Lock Stock hit the big screen. These flicks contain some of the sleekest dialogue you can find in pulpy gangster cinema, as well as a soundtrack that fits like a glove. They are quick and violent, but also easy-going. Pure gritty fun; pure entertainment.

On the other hand, this is the same guy who followed those movies with two gigantic turds. First, there was the abomination known as Swept Away, which I’m convinced was the result of Madonna threatening to withhold sex from Ritchie until he made a movie starring her. Then came Revolver, which at first glance looked like a promising return to Ritchie’s London gangster flick roots, only set in America (Las Vegas) and with a darker, edgier feel. Jason Statham was back, as were the guns, so it was only natural to assume the rest of the Guy Ritchie goodness had returned as well. Instead, the movie turned out to be full disjointed scenes and characters bound together by a series of absurd, layered metaphors. It was, dare I say, pretentious, and trust me: that’s saying a lot coming from me. Apparently, it was filled with references to Kabbalah, which might explain a lot if it’s true, but I’m not sure who was actually able to find the pseudo-spiritual garble hidden deep within that steaming heap of soiled film reel.

(Side note: I think what bothered me the most about Revolver was that it contained hints of Ritchie’s good stuff, stuff that reminded me of Snatch and Lock Stock. Sadly, they were just hints, nothing more. I keep saying I’ll give Revolver one more chance, but I just don’t think I can sit through it again.)

So as you can see, I was torn. Despite his beginnings, Ritchie had two film strikes against him. One more and he was done in my books. From the trailer, Ritchie’s new film looked like a promising return to his London gangster flick roots (wait a minute, I know I’ve heard that one before. Deja-fuckin’-vu). It’s called RocknRolla – a name I imagine he stole from some kid’s Xbox Live gamertag – and it stars an impressive group (300’s Gerard Butler; Idris Elba, who played Stringer Bell on The Wire; Entourage’s Jeremy Piven; and Tom Wilkinson, who’s great no matter what he’s in), much closer to the calibre of Snatch than the two stinkers. Whether or not any of this would translate into a movie worth seeing remained to be seen, and thanks to the convoluted process of ordering advance tickets for TIFF, I was scheduled to see it twice.

I suppose I could have simply exchanged my tickets for the second show if I hated it the first time around, but now I know that I don’t need to do that. Actually, I’m really looking forward to seeing RocknRolla a second time. Yes, it was that good. In fact, it was better than good; it was Guy Ritchie good. After seeing RocknRolla, I can say with complete confidence that Guy Ritchie is back.

Set once again in Ritchie’s London underworld, RocknRolla centres around a shady real-estate deal, a stolen painting, and a rag-tag cast of seedy characters – from low-life junkies and small time hustlers to rock star junkies and high-rolling hustlers – who all want their share of the action. The hijinks and screw-ups that ensue are pure Guy Ritchie, my personal favourites being a robbery/carjacking and a quick romp in the hay, both done in a way only Ritchie could pull off. I won’t ruin either of them by spilling the details here; I trust you’ll know what I’m talking about when you see the movie (and if you’ve read this far, trust me: you want to see it).

Now I know this all might sound a little too similar to Snatch and Lock Stock, but before you start thinking that Ritchie is just retreading his old, safe ground, let me assure you that this isn’t the case. Yes, it’s still set in London’s underbelly, but the London of RocknRolla is far different from the London of Ritchie’s earlier work. This London is bigger. The scope is wider. The stakes are higher. And the whole world Ritchie creates, while still quintessentially London gangster, feels more refined and mature than before.

That’s not to say that Ritchie has abandoned the fun, free spirit that made Snatch and Lock Stock so enjoyable. Quite the contrary, actually. RocknRolla isn’t a film that takes itself too seriously, and it shows through in many of the lines and moments (again, none of which I will ruin here). But along with the fun there’s a more introspective and thoughtful side to RocknRolla. There’s a certain self-awareness within the film, an acknowledgement of the mortality of what it’s portraying. And instead of clashing with the fun parts, it accentuates them. It adds to, and at times is the source of, many of the film’s most memorable and grin-inducing moments.

Ritchie’s newfound maturity also shows through on the technical side. The visuals are polished to a sheen, the editing is seamless, and while Ritchie’s trademark style is clearly visible, he saves the most robust effects for when they’ll have the most impact. Not to discount the style of his older work, but in RocknRolla, it appears Ritchie has learned how less can end up being so much more.

Granted, RocknRolla isn’t perfect. A couple of characters feel more like spare tires, it is a little low on action compared to his older work (which will probably turn off a few Snatch and Lock Stock die-hards), and it is quite clearly stated that the film was made to have a sequel, something that usually hinders a film’s ability to stand on its own, as is the case here. Don’t get me wrong: I really do want to see the sequel (Ritchie says he has already written it), and I sort of see what Ritchie’s going for with the episodic structuring, but I can’t help but wonder how much better RocknRolla would have been if he had put 100% into it rather than saving some for the second installment, as I’m sure he did. But this is all just nitpicking, really.

Going in to RocknRolla, I was totally prepared to write an open letter to Guy Ritchie asking him to please stop making films. After seeing it, I want him to make more. Many more. And I want him to start by getting his ass back to London to start shooting the sequel to this film. Guy Ritchie is indeed back, and his best might just be yet to come.