0
A quick rundown of everything I've seen of his in chronological order
Lock, Stock and Two Smoking Barrels - I put this on my first top 100 back in 2005, back when I was still a teen filmbro who was digging into any and all of the post-Tarantino crime capers. However, I rewatched it a few years back and found very little of worth to actually hold onto.
Snatch - basically the same as what I wrote about Lock, Stock, but I think it actually holds up (though it's still just fine rather than genuinely great).
Revolver - watched for the first time earlier this year and I appreciate how much it feels like Ritchie trying to expand his established crime caper style in a whole new direction, though it's not surprising that most people didn't respond positively to it. Probably my favourite of his as of writing.
RocknRolla - watched once and I barely remember anything about it aside from being unimpressed. Think this might have been the point at which I was starting to realise he was a one-trick pony.
Sherlock Holmes - he definitely needed to change things up, but I'm not so sure that taking the most iconic detective ever created and turning him into a snappy brawler in the midst of a post-POTC period blockbuster is the best example.
Sherlock Holmes: A Game of Shadows - same as before, but worse. Not surprised they haven't gotten a third one off the ground.
The Man From U.N.C.L.E. - surprisingly, I kind of like this one. It's basically him redoing the same modern-style period piece as his Sherlock movies, but the '60s spy setting is more my speed.
King Arthur: Legend of the Sword - now he's gotten into another rut with these attempts to do cool 21st-century blockbuster updates of old-timey IPs, but this doesn't have any of the charm of his previous works.
The Gentlemen - this flat-out sucks. Just a transparent attempt to recapture his edge after a decade in the PG-13 blockbuster mines by trying to do another ensemble crime movie like Lock, Stock or Snatch, but those weren't that good in the first place and this just comes across as myopic desperation that forgets what made those originals charming in the first place (best exemplified by how the "heroes" of his movies used to be scrappy underdogs struggling to actually make a living but here it's a millionaire crime boss looking to retire simply because his weed business is about to be legalised and put him out of a job anyway).
Wrath of Man - not too good, but at least this exercise in doing a down-and-dirty heist/revenge film with little of his usual smarminess feels like a genuine attempt to change up his style.
Reply to Topic
