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Guy Ritchie (written by)
31 October 2008 (USA) more
A story of sex, thugs and rock 'n roll.
In London, a real-estate scam puts millions of pounds up for grabs, attracting some of the city's scrappiest tough guys and its more established underworld types, all of whom are looking to get rich quick. While the city's seasoned criminals vie for the cash, an unexpected player -- a drugged out rock 'n' roller presumed to be dead but very much alive -- has a multi-million dollar prize fall into his hands. full summary | full synopsis
1 win & 3 nominations more
Play The Sherlock Holmes Flash Game
(From toxicshock. 12 November 2009, 7:45 AM, PST)
Reject Radio: Episode 25: Ring-a Ding Ding
(From FilmSchoolRejects. 10 November 2009, 11:09 PM, PST)
Yeah, we've seen it all before, but... more (148 total)
Directed by | |||
| Guy Ritchie | |||
Writing credits(in alphabetical order) | ||
| Guy Ritchie | written by | |
Produced by | |||
| Martin Askew | .... | associate producer | |
| Steve Clark-Hall | .... | producer | |
| Mickey De Hara | .... | associate producer (as Mickey De'Hara) | |
| Susan Downey | .... | producer | |
| Navid McIlhargey | .... | executive producer | |
| Lauren Meek | .... | associate producer | |
| Steve Richards | .... | executive producer | |
| Guy Ritchie | .... | producer | |
| Joel Silver | .... | producer | |
Original Music by | |||
| Steve Isles | |||
Cinematography by | |||
| David Higgs | (director of photography) | ||
Film Editing by | |||
| James Herbert | |||
Casting by | |||
| Reg Poerscout-Edgerton | |||
Production Design by | |||
| Richard Bridgland | |||
Art Direction by | |||
| Andy Nicholson | (supervising art director) | ||
Set Decoration by | |||
| Debbie Moles | |||
Costume Design by | |||
| Suzie Harman | |||
Makeup Department | |||
| Kirstin Chalmers | .... | hair designer | |
| Kirstin Chalmers | .... | makeup designer | |
| Jenny Harling | .... | makeup artist | |
| Laura Lilley | .... | makeup trainee | |
| Laura McIntosh | .... | makeup artist | |
| Kath Rayner | .... | makeup artist | |
| Laura Lilley | .... | hair trainee (uncredited) | |
| Waldo Mason | .... | prosthetics (uncredited) | |
Production Management | |||
| Tom Avison | .... | unit manager | |
| Mark Mostyn | .... | production manager | |
| Emma Zee | .... | post-production supervisor | |
Second Unit Director or Assistant Director | |||
| Matthew Baker | .... | second assistant director (as Matt Baker) | |
| Paul Bennett | .... | second second assistant director | |
| Max Keene | .... | first assistant director | |
| Paul Bennett | .... | first assistant director: second unit (uncredited) | |
Art Department | |||
| Ben Bagley | .... | stand-by props | |
| Lee Biggs | .... | construction coordinator | |
| Julian Caldow | .... | storyboard artist | |
| Neal Callow | .... | stand-by art director | |
| Tina Charad | .... | graphic designer | |
| George Dean | .... | senior painter | |
| Peter Edge | .... | stand-by painter | |
| Nick Flatt | .... | stand-by stagehand | |
| David Gibson | .... | carpenter | |
| Jane Gilchrist | .... | store person | |
| Gavin Grant | .... | dressing props | |
| Darren Hayward | .... | carpenter | |
| Sarah Jenneson | .... | assistant set decorator | |
| James Mannell | .... | dressing props | |
| Simon Marjoram | .... | carpenter | |
| Paul Anthony McGill | .... | architectural illustrator | |
| Garry Moore | .... | stand-by carpenter | |
| Greg O'Donnell | .... | stand-by painter | |
| Mark Papworth | .... | stand-by props | |
| Steve Register | .... | property master | |
| Julie Signy | .... | set production buyer | |
| David Smith | .... | stand-by stagehand | |
| Rob Sutton | .... | senior carpenter | |
| Chris Tooth | .... | art department assistant (as Christopher Tooth) | |
| Luke Whitelock | .... | assistant art director | |
| Dennis Wilson | .... | construction manager (as Denis Wilson) | |
| Galo Make Canote | .... | title art drawings (uncredited) | |
| Morgan Parker | .... | props (uncredited) | |
| Antony Parnell | .... | props (uncredited) | |
Sound Department | |||
| Christopher Alba | .... | first assistant sound editor | |
| Ron Bartlett | .... | sound re-recording mixer | |
| Lukas Chyska | .... | adr recordist | |
| Valerie Davidson | .... | supervising foley editor | |
| Eric Flickinger | .... | sound recordist | |
| Nick Foley | .... | adr mixer | |
| John Hayes | .... | production sound mixer | |
| Doug Hemphill | .... | sound re-recording mixer (as D.M. Hemphill) | |
| Devin Joseph | .... | dialogue editor | |
| Garie Kan | .... | boom operator | |
| Susan Kurtz | .... | dialogue editor | |
| Mary Jo Lang | .... | foley mixer | |
| Mark Larry | .... | supervising sound editor | |
| Trillby Kim Lowe | .... | dialogue/adr supervisor (as Trillby Kimberly Lowe) | |
| Alyson Dee Moore | .... | foley artist (as Alyson Moore) | |
| Ian Morgan | .... | adr editor: UK | |
| Tom Ozanich | .... | sound effects editor | |
| John Roesch | .... | foley artist | |
| Andrew Rowe | .... | sound assistant | |
| Paul Schwartz | .... | boom operator | |
| Bryan O. Watkins | .... | co-supervising sound editor (as Bryan Watkins) | |
| Nathan Whitehead | .... | assistant sound editor | |
| Hugo Jeffreys | .... | adr recordist (uncredited) | |
Special Effects by | |||
| David Harris | .... | special effects supervisor | |
| Graham Hills | .... | senior special effects technician | |
| Craig Leong | .... | special effects assistant | |
| Kyle May | .... | special effects trainee | |
| Karl Openshaw | .... | special effects engineer | |
| Stuart Wishart | .... | senior special effects engineer | |
Visual Effects by | |||
| Dave Bannister | .... | senior compositor: Rushes Post Production | |
| Seb Barker | .... | cg artist: Rushes Post Production (as Seb Baker) | |
| Jocelin Capper | .... | visual effects executive producer: Rushes Post Production (as Joce Capper) | |
| Michael Deming | .... | digital film bureau | |
| Guy Elson | .... | senior compositor: Rushes Post Production | |
| Warwick Hewett | .... | visual effects coordinator: Rushes Post Production | |
| Louise Hussey | .... | visual effects producer: Rushes Post Production | |
| Alex Jenyon | .... | digital matte painter: Rushes Post Production | |
| Timothy P. Jones | .... | digital film bureau | |
| Tom Kimberley | .... | compositor: Rushes Post Production | |
| Alex Llewellyn | .... | compositor: Rushes Post Production | |
| Ian Murphy | .... | compositor: Rushes Post Production | |
| John Palmer | .... | digital film bureau manager | |
| Mark Pascoe | .... | cg artist: Rushes Post Production | |
| Kate Porter | .... | compositor: Rushes Post Production | |
| Scott Pritchard | .... | compositing supervisor: Rushes Post Production | |
| Jonathan Privett | .... | visual effects supervisor: Rushes Post Production | |
| Cristina Puente | .... | compositor: Rushes Post Production | |
| Adam Rowland | .... | compositor: Rushes Post Production | |
| David Sjodin | .... | compositor: Rushes Post Production | |
| Lee Tibbetts | .... | cg artist: Rushes Post Production | |
| Alan Williamson | .... | visual effects data assistant: Rushes Post Production | |
| Jez Tucker | .... | senior systems administrator: Rushes Post Production (uncredited) | |
Stunts | |||
| Richard Bradshaw | .... | stunt performer | |
| Jim Dowdall | .... | stunt coordinator | |
| Sid Karne | .... | stunt performer | |
| Derek Lea | .... | stunt performer | |
| Maurice Lee | .... | stunt performer | |
| James Grogan | .... | stunt double (uncredited) | |
| Nick McKinless | .... | stunts (uncredited) | |
Camera and Electrical Department | |||
| Alex Bailey | .... | still photographer | |
| Andy Bell | .... | best boy | |
| Dan Fontaine | .... | gaffer | |
| Dave Gray | .... | stand-by rigger | |
| Neil Gray | .... | technician: high definition | |
| Stewart Holt | .... | electrician | |
| Carolyn Hughes | .... | camera trainee | |
| Julian Morson | .... | Steadicam operator | |
| Julian Morson | .... | camera operator | |
| Mike Parsons | .... | electrician | |
| Ricky Payne | .... | electrician | |
| Barney Piercy | .... | focus puller | |
| Matt Poynter | .... | focus puller | |
| Steve Pugh | .... | key grip | |
| Erin Stevens | .... | camera loader | |
| Fred Todd | .... | electrician | |
| John Walker | .... | rigging gaffer | |
| Frankie Webster | .... | electrical rigger | |
| Andy Woodcock | .... | assistant grip | |
| Peter Batten | .... | additional camera operator (uncredited) | |
| Emmet Cahill | .... | grip (uncredited) | |
| James Foster | .... | second assistant camera: "b" camera: dailies (uncredited) | |
| Jon Howard | .... | second assistant camera: "b" camera (uncredited) | |
| Nic Lawson | .... | cinematographer: second unit (uncredited) | |
| Richard Mason | .... | electrician (uncredited) | |
Casting Department | |||
| Abigail Barbier | .... | adr voice casting | |
| Louis Elman | .... | adr voice casting | |
| Lillie Jeffrey | .... | casting assistant | |
Costume and Wardrobe Department | |||
| Bartholomew Cariss | .... | stand-by costumer | |
| Mark Lord | .... | stand-by costumer | |
| James Pavlou | .... | wardrobe assistant | |
| Nat Turner | .... | assistant costume designer (as Nathaniel Turner) | |
| Joanna Wright | .... | wardrobe supervisor | |
| Elizabeth Wilson | .... | costume supervisor: additional photography (uncredited) | |
Editorial Department | |||
| Rob Gordon | .... | digital on-line editor | |
| Emily Greenwood | .... | digital on-line editor | |
| Philip Hedgecock | .... | first assistant editor | |
| Patrick Malone | .... | digital intermediate director of production | |
| Erin McGookin | .... | digital intermediate producer | |
| Rob Pizzey | .... | digital intermediate colorist | |
| Mitch Rosin | .... | assistant editor | |
| Crispin Struthers | .... | assistant editor | |
| Laurent Treherne | .... | digital film technical director | |
| Andrew Bradley | .... | projectionist: post-production (uncredited) | |
| Aidan Stanford | .... | color timer (uncredited) | |
Music Department | |||
| Ian Neil | .... | music supervisor | |
| Derek Somaru | .... | music editor | |
| The Subways | .... | musician | |
| Tommy Lockett | .... | music editor (uncredited) | |
| Peter Rotter | .... | orchestra contractor (uncredited) | |
Transportation Department | |||
| Jim Atkins | .... | unit driver | |
| Nick Attfield | .... | transportation co-captain | |
| Dave Ballard | .... | driver: stand-by construction truth | |
| Alan Burrows | .... | driver: camera truck | |
| Gary J. Dodd | .... | driver: grip truck (as Gary Dodd) | |
| Paul Elston | .... | driver: props runaround | |
| Barry Goodwin | .... | unit driver | |
| Georg Grohmann | .... | driver: Tom Wilkinson | |
| Alex King | .... | action vehicle coordinator | |
| George Morris | .... | action vehicle coordinator | |
| Richard Ong | .... | driver: makeup traiuler | |
| Graham Pamment | .... | driver: production trailer | |
| Steve Pyke | .... | driver: wardrobe truck (as Steve Pike) | |
| David Speirs | .... | unit driver | |
| Tony Power | .... | driver: construction department (uncredited) | |
Other crew | |||
| Ilya Abulhandy | .... | title designer | |
| Aaron Auch | .... | assistant: Joel Silver | |
| Philip Ball | .... | utility stand-in (as Phil Ball) | |
| Joanna Batten | .... | stand-in: Thandie Newton | |
| Stephen Bender | .... | production coordinator: US (as Steve Bender) | |
| Sarah Brand | .... | on-set assistant | |
| Carol Bulmer | .... | caterer (as Carole Bulmer) | |
| Kelly Kiyoon Chang | .... | accounts assistant | |
| Kyle Cooper | .... | titles executive producer | |
| Gemma Copper | .... | caterer | |
| Sarah Critchley | .... | clearance researcher | |
| Ian Dawson | .... | producer: titles | |
| Marie-Cecile de Faucigny | .... | assistant accountant | |
| Charles Edwards | .... | clearance researcher | |
| Larry Eydmann | .... | health and safety advisor | |
| Ollie Gatehouse | .... | post production assistant | |
| Mia Gray | .... | production assistant | |
| Alex Hanson | .... | title designer | |
| Moira Houlihan | .... | unit publicist | |
| Patrick Isherwood | .... | production accountant | |
| Antony Judd | .... | chef (as Tony Judd) | |
| Lara Khajetoorians | .... | assistant: Susan Downey | |
| Adam Kuhn | .... | production accountant: USA | |
| Ron Levin | .... | legal representative: US | |
| Ben MacGregor | .... | location scout | |
| Paul McCloskey | .... | assistant: Steve Richards | |
| Richard Moxon | .... | legal representative: UK | |
| Ruth Nicol | .... | nurse | |
| Christine Perrett | .... | caterer | |
| Rebecca Rae | .... | assistant production coordinator | |
| Stacy Raskin | .... | assistant: Joel Silver | |
| Christina Rice | .... | assistant: Garard Butler | |
| Bobby Rich | .... | assistant: Guy Ritchie | |
| Chris Sanchez | .... | titles illustrator | |
| Sarah Shepherd | .... | assistant location manager | |
| Sam Smith | .... | on-set assistant | |
| Isobel Thomas | .... | production coordinator | |
| Claire Tovey | .... | location manager | |
| Elizabeth West | .... | script supervisor (as Liz West) | |
| Oliver Wheeler | .... | production assistant | |
| Adam Winkleman | .... | assistant: Navid McIlhargey | |
| Danny Yount | .... | title designer | |
| Emma Baksi | .... | assistant: Mr. Piven (uncredited) | |
| Rob Ellingham | .... | location scout (uncredited) | |
| Glyn Harper | .... | floor runner: dailies (uncredited) | |
| Rob Sorrenti | .... | behind-the-scenes (uncredited) | |
Thanks | |||
| Richard Mirisch | .... | special thanks | |
Rated R for pervasive language, violence, drug use and brief sexuality.
114 min
2.35 : 1 more
DTS | Dolby Digital | SDDS
USA:R (certificate #44080) | UK:15 | Ireland:15A | Singapore:M18 | Australia:MA | New Zealand:R16 | Canada:14A (British Columbia) | Finland:K-15 | Norway:15 | Brazil:16 | Portugal:M/16 | Canada:14A (Ontario) | Switzerland:14 (canton of Vaud) | Switzerland:14 (canton of Geneva) | Netherlands:16 | France:U | Argentina:16 | Japan:PG-12 | Sweden:15 | Peru:14 | South Korea:18 | Iceland:16 | Germany:16
Director Cameo: [Guy Ritchie]Man on bicycle riding past Roman and Mickey as they approach Johnny's crack house. more
Revealing mistakes: The two "Chechnyans" would more likely be veterans of the Russian Army who've served in Chechnya. This is because actual Chechens would speak the Chechen language rather than Russian. more
[first lines]
Archie:
People ask the question... what's a RocknRolla? And I tell 'em - it's not about drums, drugs, and hospital drips, oh no. There's more there than that, my friend. We all like a bit of the good life - some the money, some the drugs, other the sex game, the glamour, or the fame. But a RocknRolla, oh, he's different. Why? Because a real RocknRolla wants the fucking lot.
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I have to admit that I have a soft spot for Guy Ritchie's mockney gangster films. I don't know what it is. I know that they're not very profound and have nothing to say, I know that they're a pure fantasy vision of British crime and I know that if you've seen Lock Stock, you've pretty much seen them all. And yet, as Ritchie returns for a third iteration of the only formula with which he's tasted success , I still find myself walking out of the cinema massively entertained.
RocknRolla does absolutely nothing new. A quick list of things it shares with Lock Stock and Snatch would read thus: fast paced, witty dialogue; complex, interwoven plot threads; central McGuffin driving the mayhem (#1 antique shotguns, #2 huge diamond, #3 a lucky painting); smart, rapid editing; a mountain of Cockney crime stereotypes. Even things such as hard-as-nails Russian henchmen return. It completes the upward curve of scale in Ritchie's crime films: from a rigged card game to a rigged boxing circuit to rigged property development. The crime lords get larger in stature, the sums of money owed have more zeros on the end and the capers required to resolve the situation more grand, but it's still the same concept.
You'd think this was a list of criticisms, and if you found Snatch wearingly familiar you shouldn't need it spelling out that this film won't impress you. Looking for originality? Look elsewhere. RocknRolla may be pushing the formula a little bit, but if you accept that it's still enormous fun. Ritchie's directing is as proficient as ever, it moves at a merry old pace and the plot just about stays on the rails. The characters are endearing and there's plenty of laughs to be had. Other than its dearth of invention, the only real flaw with the film lies in the opening fifteen minutes, where Ritchie sets up the plot strands which will then unravel. Whereas previous films did this in a smooth, unforced way, here Ritchie lathers it with a liberal helping of voice-over narration so there's absolutely no confusion possible as to who is who and what they're after, which on many occasions extends to pointing out the bleeding obvious. Show don't tell- it's the first rule in the book Ritchie! It may be getting to the point where RocknRolla must go down as a guilty pleasure, but guilty pleasures are often the most fulfilling kind. And so it is here.