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Guy Ritchie (written by)
19 January 2001 (USA) more
Stealin' Stones and Breakin' Bones more
Unscrupulous boxing promoters, violent bookmakers, a Russian gangster, incompetent amateur robbers, and supposedly Jewish jewelers fight to track down a priceless stolen diamond. full summary | full synopsis
4 wins & 5 nominations more
Nikki Kruex ('Dead Reckoning', 'The Story of Annie Kellister')
(From pretty-scary. 14 November 2009, 1:34 PM, PST)
Ritchie: 'I'm making Holmes to be popular'
(From digitalspy. 9 November 2009, 8:30 AM, PST)
Lock, Stock, and Many Smoking Barrels more (635 total)
Directed by | |||
| Guy Ritchie | |||
Writing credits | ||
| Guy Ritchie | (written by) | |
Original Music by | |||
| John Murphy | |||
Cinematography by | |||
| Tim Maurice-Jones | (director of photography) | ||
Film Editing by | |||
| Jon Harris | |||
Casting by | |||
| Lucinda Syson | |||
Production Design by | |||
| Hugo Luczyc-Wyhowski | |||
Art Direction by | |||
| Julie Philpott | |||
Set Decoration by | |||
| Linda Wilson | |||
Costume Design by | |||
| Verity Hawkes | |||
Makeup Department | |||
| Jean Ann Black | .... | makeup artist: Mr Pitt (as Jean Black) | |
| Fae Hammond | .... | chief hair stylist | |
| Fae Hammond | .... | chief makeup artist | |
| Fae Hammond | .... | chief tattoos | |
| Belinda Parish | .... | hair stylist (as Belinda Parrish) | |
| Belinda Parish | .... | makeup artist (as Belinda Parrish) | |
| Pebbles | .... | key hair stylist | |
| Pebbles | .... | key makeup artist | |
| Pebbles | .... | key tattoos | |
Production Management | |||
| Adam Bohling | .... | production manager | |
| Ashton Radcliffe | .... | location unit manager | |
Second Unit Director or Assistant Director | |||
| David Reid | .... | first assistant director | |
| Daniel Toland | .... | second assistant director (as Dan Toland) | |
| Mick Ward | .... | third assistant director | |
| Tom Delmar | .... | action unit director (uncredited) | |
| Tom Rye | .... | third assistant director (uncredited) | |
| Mick Ward | .... | second unit director (uncredited) | |
Art Department | |||
| Peter Burden | .... | dressing props | |
| Will Cann | .... | stand-by props | |
| Graham Cole | .... | stand-by carpenter | |
| Chris Cutler | .... | dressing props | |
| Sandra Fattorre | .... | art department production assistant | |
| Martin Foley | .... | assistant art director | |
| Gerry Higgins | .... | stand-by rigger | |
| Verena Kahn | .... | assistant art director (as Verena Khan) | |
| Thomas Martin | .... | carpenter | |
| Campbell Mitchell | .... | stand-by props | |
| Tom Pleydell-Pearce | .... | property master | |
| John Roberts | .... | supervising painter | |
| Tom Roberts | .... | stand-by painter (as Tommy Roberts) | |
| David Smith | .... | stagehand | |
| Philip Smith | .... | supervising carpenter (as Phillip Smith) | |
| Dennis Wilson | .... | construction coordinator (as Denis Wilson) | |
Sound Department | |||
| Matthew Collinge | .... | sound designer | |
| Matthew Collinge | .... | sound effects editor | |
| Mike Dowson | .... | sound re-recording mixer | |
| Arthur Fenn | .... | boom operator (as Arthur Turner) | |
| Diane Greaves | .... | foley artist (as Dianne Greaves) | |
| James Harris | .... | cableman | |
| Simon Hayes | .... | sound mixer | |
| Robin Johnson | .... | cableman | |
| Michael Redfern | .... | foley editor | |
| Danny Sheehan | .... | dialogue editor | |
| Jason Swanscott | .... | foley artist | |
| Mark Taylor | .... | sound re-recording mixer | |
| Darren McQuade | .... | adr mixer (uncredited) | |
Special Effects by | |||
| Casper Lailey | .... | special effects technician (as Caspar Lailey) | |
| Ken Lailey | .... | special effects supervisor | |
| Alastair Vardy | .... | special effects technician (uncredited) | |
| Gareth Wingrove | .... | special effects technician (uncredited) | |
Visual Effects by | |||
| Paul Conway | .... | compositing artist: The Moving Picture Company | |
| Gavin Digby | .... | compositing artist: The Moving Picture Company | |
| Michael Elson | .... | digital effects producer: The Moving Picture Company | |
| Kristin Emblem | .... | digital effects producer: The Moving Picture Company | |
| Ed Hawkins | .... | compositing artist: The Moving Picture Company | |
| Gregory Salter | .... | compositing artist: The Moving Picture Company | |
| Jean-Clement Soret | .... | digital colourist: The Moving Picture Company | |
| Mark Stannard | .... | compositing artist: The Moving Picture Company | |
| Jelena Stojanovic | .... | compositing artist: The Moving Picture Company | |
| Tom Wood | .... | compositing artist: The Moving Picture Company | |
| Michael Elson | .... | head of production: The Moving Picture Company (uncredited) | |
| Willi Geiger | .... | research and development (uncredited) | |
| Alasdair MacCuish | .... | senior data-op: The Moving Picture Company (uncredited) | |
| Daniel Walton | .... | digital artist (uncredited) | |
Stunts | |||
| Tom Delmar | .... | stunt coordinator (as Tom Delmar-McCormick) | |
| Tom Delmar | .... | fight director (uncredited) | |
| Charles Jarman | .... | stunt double: Robbie Gee (uncredited) | |
Camera and Electrical Department | |||
| Ray Bateman | .... | electrician | |
| Frank Cox | .... | electrician | |
| Andy Duncan | .... | chief lighting technician | |
| Stuart Graham | .... | focus puller | |
| Elizabeth Hoar | .... | camera trainee | |
| Jake Marcuson | .... | clapper loader (as Jake Marcusson) | |
| Richard Oxley | .... | assistant chief lighting technician | |
| Sebastian Pearson | .... | still photographer | |
| Chris Polden | .... | electrician | |
| Peter Wignall | .... | Steadicam operator: "a" camera | |
| Peter Wignall | .... | camera operator | |
| Terry Williams | .... | key grip | |
| Sam Barnes | .... | focus puller: second unit (uncredited) | |
| Stuart Howell | .... | additional Steadicam operator (uncredited) | |
| Jon Mitchell | .... | daily clapper loader (uncredited) | |
Casting Department | |||
| Vanessa Baker | .... | adr voice casting | |
| Emma Engers | .... | casting assistant | |
Costume and Wardrobe Department | |||
| Melina Fragkia | .... | wardrobe | |
| Sharon Gilham | .... | costume supervisor | |
| Caroline McCall | .... | wardrobe | |
| Nicki Varney | .... | costume assistant (as Nicky Varney) | |
Editorial Department | |||
| Jatinderpal Chohan | .... | post-production | |
| Peter Dansie | .... | assistant editor | |
| Les Healey | .... | co-editor | |
| David Rees | .... | color timer | |
| Paul Swinburne | .... | first assistant editor | |
Music Department | |||
| Matt Biffa | .... | music researcher | |
| Karen Elliott | .... | music researcher | |
| Daniel L. Griffiths | .... | score engineer (as Daniel L Griffiths) | |
| Daniel L. Griffiths | .... | score mixer (as Daniel L Griffiths) | |
| Ged Lynch | .... | music contractor | |
| Ian Neil | .... | music consultant | |
| Danny Sheehan | .... | music editor | |
| Patricia Joseph | .... | soundtrack producer (uncredited) | |
Transportation Department | |||
| Simon Barker | .... | transportation captain | |
| Fergus Cotter | .... | driver | |
| Colin Giffin | .... | driver | |
| Melvin Kiernan | .... | driver | |
| Steve Rogers | .... | driver | |
| Mark White | .... | transportation | |
Diamonds (USA) (working title)
Lock, Stock... and Six Stolen Diamonds (UK) (working title)
Snatch (UK) (alternative spelling)
Snatch'd (USA) (working title)
The Guy Ritchie Project (USA) (working title)
more
Rated R for strong violence, language and some nudity.
104 min | USA:102 min
1.85 : 1 more
Singapore:M18 (uncut) | Finland:K-15 (DVD rating) | Finland:K-16 (original rating) | Iceland:16 | USA:R (NO. 37533) | Philippines:R-18 | Brazil:16 | Argentina:16 | Australia:MA | Canada:16+ (Québec) | Canada:18A (Canadian Home Video rating) | Chile:18 | Denmark:15 | France:U | Germany:16 | Greece:K-17 | Hong Kong:IIB | Hungary:16 | Ireland:18 | Japan:PG-12 | Mexico:B | Netherlands:16 | New Zealand:R18 | Norway:15 | Peru:18 | Portugal:M/16 | Singapore:PG (censored version) | South Korea:18 | Spain:18 | Sweden:15 | Switzerland:16 (canton of Geneva) | Switzerland:16 (canton of Vaud) | UK:18
Jester's Amusement Arcade, West Ealing, London, England, UK more
The role of Brick Top Polford was originally offered to Dave Courtney. more
Continuity: When Tommy is talking to Turkish about the purchase of the gun, his own gun is alternately pointed towards the ceiling, and straight ahead, between cuts. more
[first lines]
Turkish:
[narrating] My name is Turkish. Funny name for an Englishman, I know. My parents to be were on the same plane when it crashed. That's how they met. They named me after the name of the plane. Not many people are named after a plane crash. That's Tommy. He tells people he was named after a gun, but I know he was really named after a famous 19th century ballet dancer.
more
Referenced in Anus Magillicutty (2003) more
DON'T YOU JUST KNOW IT more
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The release of Tarantino's "Pulp Fiction" in 1994 prompted a schism in the staid gangster movie genre: the standard hallmarks - serious characters, gunfights, intrigue and damsels in distress - were enhanced with snappy dialogue, and gallows humour. The biggest change however was the introduction of the mobius strip-style plot line, where the concept of time is no longer linear, instead constantly folding in upon itself, flitting between past, present and future that forces the viewer to pay close attention lest they miss some subtle detail. Inevitably, numerous copycat films emerged that tried to capitalize on Tarantino's success, but it wasn't until 1998 when Guy Ritchie, an unknown British director, took on the challenge that a successor was found. Now Ritchie is determined to prove that his first time out wasn't a fluke.
Turkish is a young man with an entrepreneurial bent, who, when he's not running his gambling operation, manages bareknuckle boxers. Through a business deal gone wrong, he becomes acquainted with one Mickey O'Neil, a mumbling manic motor-mouthed piker who also happens to be a one-punch marvel. Turkish persuades Mickey to join his stable of fighters, but soon discovers that Mickey has his own agenda, and gets Turkish in trouble with the gangsters who run the underground boxing circuit. Other characters that become involved in the drama include a four-fingered degenerate gambler/jewel thief, a vicious boxing promoter, a gang of inept robbers, a polite hitman, a crazed Russian gun runner, a group of Irish gypsies, a crooked New York jeweler and a pugnacious pet. The common thread binding them all is a perfect diamond the size of a peach pit. If you aren't confused yet, you soon will be.
"Lock, Stock and Two Smoking Barrels", Mr. Madonna's (Ritchie) first film, was shot on a small budget, with a no-name cast (except for football bad boy Vinnie Jones) and quickly became a rousing success at home and found receptive audiences abroad. While not a technically a sequel "Snatch" is stylistically very similar to "Lock, Stock ": Ritchie utilizes his trademark bombastic staccato sequences, and repeatedly bounces off on radical tangents to throw the viewer off balance. He did however opt for a decidedly darker satirical tone in this film, that may make some people uncomfortable (think "Very Bad Things"). What struck me as particularly daring was his decision to create a story with such a voluminous cast.
Ritchie faced a daunting task with this film: how, with roughly twenty principal characters, does one adequately flesh out each character, and not hopelessly confuse the audience? The feat was made doubly difficult, as several cast members are big name stars. Somehow Ritchie manages - each actor is full bodied, receives ample screen time, and no one character is the centerpiece. With so many talented actors, it is difficult to pick out one performance that stands out: Rade Serbedzija is hilarious as the mad Russian who blithely burns through each of his nine lives, as is Vinnie Jones' manic gentleman hitman. On the other end of the spectrum, is Alan Ford as Brick Top, the promoter with a penchant for pigs, who epitomizes cold-blooded viciousness. If forced to pick my favorite however, I would have to go with Brad Pitt
Pitt resurrects his trailer trash look from "Kalifornia" and adopts a nearly indecipherable brogue that sounds like my best friend's Uncle Wally on a bad day. As Mickey O'Neil, the hard drinking wily grifter and part-time pugilist, Pitt displays a wide range of emotions, demonstrating again that he is not only a star, but also a gifted character actor. And I would be remiss if I didn't mention the dog that subtly stole every scene he appeared in.
While "Snatch" initially struggles to find its stride, and is very similar to Ritchie's earlier film, it is fresh and funny enough to make you forget any minor shortfalls and stand on its own.