London Boulevard

2010

Action / Crime / Drama

230
Rotten Tomatoes Critics - Rotten 38%
Rotten Tomatoes Audience - Spilled 30%
IMDb Rating 6.2 10 45753

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Synopsis


Uploaded By: OTTO
June 21, 2013 at 11:27 PM

Cast

Keira Knightley as Charlotte
Colin Farrell as Mitchel
Anna Friel as Briony
720p.BLU 1080p.BLU
700.60 MB
1280*720
English 2.0
R
23.976 fps
1 hr 43 min
P/S 3 / 20
1.40 GB
1920*1080
English 2.0
R
23.976 fps
1 hr 43 min
P/S 1 / 4

Movie Reviews

Reviewed by hitchcockthelegend 6 / 10

I will hurt someone before they hurt me.

London Boulevard is written and directed by William Monahan. It stars Colin Farrell, David Thewlis, Ray Winstone, Ben Chaplin, Keira Knightley and Anna Friel. Music is by Sergio Pizzorno and cinematography by Chris Menges.

After serving his stretch for GBH, Harry Mitchel (Farrell) returns to his manor and finds gangland boss Rob Gant (Winstone) wants him as one of his charges.

Written and directed by the man who co-wrote The Departed, it's not hard to guess what sort of tone London Boulevard is set at. Which for anyone who follows neo-noir will find plenty to like here, not least the stylish and tonally compliant photography of Menges.

However, falling under the neo-noir banner becomes a curse in a way because there are far greater films of this ilk to liken it too. Pic at least does have the courage to not cop out in resolutions, but again there is no surprise factor for the genre faithfuls.

The narrative often meanders, shoehorning in Knightley's (underused) harassed actress as a love interest in the process, and London accents are choppy. It also is criminal to have Stephen Graham and Eddie Marsan in your movie and barely give them screen time!

On the plus side of things, the violence and dialogue is often taut and tart respectively, backed by a scorching rocky hipster soundtrack. Farrell is good value as a tough guy, Winstone does what he does best, menacing of course, while Thewlis steals the film as a wired cool cat with menace surprisingly lurking in is heart.

As a whole it fails to hit all the right spots, but enough in here for neo-noir fans to feed on as an appetiser to a more fulfilling noir meal. 6/10

Reviewed by lewiskendell 7 / 10

Good movie, better cast.

"That's why nobody wants me to be a gangster. Because I could not stop if I started."

I mainly wanted to see London Boulevard because of the pairing of Keira Knightley and Colin Farrell, and that part of the movie certainly didn't disappoint me. This is definitely Farrel's film, and he carries it well. Knightley is much more a side character, despite her prominent place in the posters and advertisements. And while she's good in her part, Farrell is what makes this interesting. The guy is absolutely ferocious in this movie, and any fans of his will be pleased. 

The story of a man, fresh off of time in the prison, struggling not to be drawn into the violent criminal world that everyone around him seems to think he belongs in, is an average one. It feels a bit haphazard at times, which seems due to the way the plot continued to change as the film was being made. It progresses in leaps and fits and starts, without ever really establishing a steady flow. The scenes with Knightley and Farrell together seem from a completely different flick than the scenes with Farrell in his violent criminal element, due to the drastic differences in tone between the two. That's not a flaw in itself, but it highlights how piecemeal the whole film can feel at times. 

What makes London Boulevard a memorable movie despite its issues is the characters. Beyond Farrell and Knightley's hounded actress, Anna Friel, David Thewlis, and Ray Winstone each help carry the story along with interesting roles that they play just perfectly. 

I recommend London Boulevard if you're a fan of anyone involved, but don't expect a traditional English gangster flick. Or a perfect one. 

Reviewed by NateWatchesCoolMovies 2 / 10

A lot of talent poured down the drain

Pains me to say this, but London Boulevard is a whole lot of nothing. Like, a disgraceful amount of nothing when you step back and look at the talent involved. I read a review on IMDb saying that "every element of this film is so right, but how did it end up so wrong?".. Sad to say, I couldn't agree more. This is one unfocused, meandering, royal catastrophe. Where does the blame lay? Who can say, really.. I don't want to lay it on the director, even though his only other feature, Mojave, was pretty dismal, but he'll find his groove. The cast is capable and willing, none of them totally phoning it in. No, I feel like it's the script, a botch job of a story consisting of scenes mired in a never-ending doldrum where nothing ever really goes anywhere and the characters get caught up in the purgatorial nonsense of it all. Colin Farrell is a tough guy who is hired to act as pseudo-bodyguard to a reclusive, neurotic film star (Keira Knightley), after which all sorts of freak occurrences and oddball Brit-bag characters get in the way. He's got a wayward sister to protect (Anna Adriel), a volatile partner in petty crime (Ben Chaplin) a nosy DI on his trail (Eddie Marsan) and all these chess pieces converge upon the arrival of London's most fearsome crime boss (Ray Winstone), who has a bag of bones to pick with Farrell for a number of different and equally muddled reasons. Winstone tries to pull him back into the game with vague homoerotic intimidation, Knightley wistfully wallows in depression with her druggie friend (David Thewlis, looking like he forgot to read the script) and hides from paparazzos, the story clumps along missing every beat and wasting a decent score as well as some stylish flourishes on events that no one seems to care about, least of all the audience. Perhaps that's why Farrell scowls his way through the whole thing, and not in a smouldering, potent way either, more like a confused, begrudging participant in a pointless exercise. They really should have gotten their act together a little more with a cast and budget like this, found a better script and given us something worth seeing. Instead we're given the cinematic equivalent of a pocket of lint, promising on the outside before we look in, ripe with potential but filled with nothing remotely worthwhile once we look inside. Shame.

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