a5c7b9f00b Gambler Jake Green enters into a game with potentially deadly consequences.
Jake Green is a hotshot gambler, long on audacity and short on common sense. He's rarely allowed to play in any casino because he is a winner. Jake has taken in so much money over the years, he is the only client of his accountant and older brother Billy. One night, Jake, Billy and their other brother Joe are invited to sit in on a private game, where Jake is expected to lose to Dorothy Macha, a crime boss and local casino owner who can't play for squat, but always wins because people are too scared to beat him. Jake isn't afraid of Macha, and not only beats Dorothy in a quick game of chance, but takes every possible opportunity to insult the man. Jake and his brothers leave the game, and Macha puts out the order for a hit on Jake, who ends up working for and being protected by a pair of brothers, Avi and Zack, who are out to take Macha down.
Guy Ritchie is a good director.But Swept away was directed by him and the movie is totally pathetic.Revolver,his new movie,totally redeems him.Ritchie made something different:the movie has not got the same style of Lock,stock… and Snatch.The style is darker and without the sense of humor that two movies have.The script is original and totally unpredictable.Another thing I liked from this movie is that it requires a lot of attention for watching it.Revolver is a great film that I enjoyed a lot and,like I said before,Ritchie is totally redeemed after a crap like Swept away.<br/><br/>Rating:8.5
That line refers to a book on M. Night Shyamalan titled "The Man Who Heard Voices." It's my personal professional opinion, notany kind of psychiatrist buta humble hobby-interested movie critic, that Guy Ritchie could join that club following his film Revolver. What voices I can't quite entirely say- maybe it's just the crazy auteur in him trying to get out of his wild post-modern B movie skin, that or some of Madonna's Kabbalah influence, or even just the cliché with the game of chess- but all come together to form this weird mess of a movie. It's not something that is outright detestable, at least from start to finish. Its dreadful droning on only becomes really present in the second half, where the mildly enjoyable parts start to wear off.<br/><br/>Because inside Revolver is a reasonably interesting B-movie, plain and simple. A low-level gangster, Jake Green (Statham, formidable at best) gets out of jail following a seven-year stint in solitary (shaving half the time off), and finds himself in trouble with a former gangster played by Ray Liotta (Mecca or Macha was his name, I forget which), and then finds himself in the constant, bleeding-dry debt of oblique loan-sharks (Andre 3000 and Pastore). Then there's some gang wars going on about with Liotta and some Asians, and then a hit-man who's really super-duper good save for one crucial instance, and an ending that just, um… ends, sort of.<br/><br/>That's all I could make out of most of the movie. The rest is pumped with a kind of stylistic vigor attributable to steroids and other medications. For a short while near the start of the picture (i.e. almost the whole first quarter or third), Ritchie has a handle on some of the more dramatic elements, the performances from Statham and Liotta, and even the pretensions aren't too meddlesome at first… At first, that is. Until Ritchie makes a crucial error- he replaces plot all with metaphor, subtexts and outer-texts and rabbits pulled out of hats. It's bad enough that he chooses an overbearing soundtrack, ranging from composer Nathanial Mechaly and classical music tracks. But after a while even what should be just crazy exploitive fun turns into just gobledy-gook. A scene that's meant to have some great significance and psychological depth, like the climax, is the nail in the coffin.<br/><br/>Ritchie seems to put a lot of trust into this concept of "the Game", and how it relates to con jobs, gangster life, who dies and who goes, what's going on here or there, and who says to live or die. Maybe this could be intriguing, in the proper clarity. It's almostif Ritchie gets in the waya director by not going for just one subject for a short whileopposed to hammering it away and then with a THWAK overdoing it with visual flamboyance. What is all this? What's up with the animated sequences, aside from a cheap homage to Kill Bill? Why do the actors seem so monotone so much of the time - do they realize how plodding some of this is? What characterizes Ritchie at his best- which isn'ta great filmmaker but a pretty enjoyable mish-mosher of the crime genre- is some sense of fun, if not humor, about things. Taking himself so seriously here, and overloading with the kind of symbolism and heavy context that one needs a dictionary or a math book, the value of the story drops drastically. One wonders if this will be the last time we hear Ritchie's "voices", or if they may return in the guise of a perfectly good British crime thriller. It's a semi-watchable disaster.
Definitely deserves points for trying to be something thought-provoking and different, but it doesn't really stand up to analysis and it comes offa pretentious mess.

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