Degeneracy has never looked as sorrowful as James McAvoy, screaming, crying and berating his way through a comfortably unnerving hour and a half, adapting the words of Irvine Welsh with director Jon S. Baird. Filth is just that. Utter smut. It is vile and depraved in ways only Welsh could conjure. Trainspotting might be a delve into the heroin scene, but it is the acceptance of decadence there that makes it less shocking. When the long arm of the law is dabbling in the crimes that they are meant to crack down on, all under the guise of catchy and obnoxious taglines, the same rules mentality and the care-free attitude of a proud Scotsman hating his fellow man, it becomes a melting point of vagrancy and a sincere turn of how forgiving an audience can be.
Religious warfare spilling out onto the streets of a fractured America should be a fantastic draw for the great actors of the early 2000s. It was. Gangs of New York has such a strong cast to it and a great director behind it, Martin Scorsese. It is a bold and brash piece that features all the typical treatises and topics of a period piece that sets the Catholic and Protestant forces against one another on the streets of America. Scorsese is keen to guide that scope with some incredible casting choices and a knack for knowing how to handle that. Smooth the egos, set up the right levels of screentime and capture captivating performances from actors getting to grips with a thick and promising screenplay.
What wrath does Guy Ritchie really have left? Brooding musical notes, bullets fired and a whole load of curses stagger through the streets as a heist goes off once more. A few days in the life of H (Jason Statham) provide us many a problem for H to handle. He does so, inevitably, throughout Wrath of Man. But the wrath of man is a mixed bag, one that has no real status in the modern action flick. Not even Ritchie can convince us of its severity, it is why he mocked it so severely and effectively with his previous film, The Gentlemen. But he has doubled down on his mixed bag of action tropes and hard-knock heroes with a tatty display of veterans posing as rookies, saving the day with the talents only they have.
Those grotty streets of London town have been traipsed by so many greats wishing to adapt the role of Sherlock Holmes to the big screen. As unlikely a candidate Robert Downey Jr. may be, his eponymous role as Sherlock Holmes under the watchful eye of director Guy Ritchie is well-rounded and realised with a love for the source material. It takes certain leniencies with the broad stylings of Arthur Conan Doyle, and represents them with a cluttered, comfortable iconography. With such a dedication to the role, it is unsurprising that Sherlock Holmes, while not the most faithful of adaptations, is still a tremendous turn for all included. Characters and casting choices that feature around the titular role make for an effective crash of Doyle’s best bits.