Nail Review: Guy Ritchie becomes his worst enemy

First to They are meek, kingpin abuser Dry Eye (Henry Golding) tells Mickey Pearson (Matthew McConaughey) that the new ones will replace the old one. Pearson disagrees: The rule of symbolic forest is that the strong will eat the weak. Pearson may be getting old, but he loses his balance; he is still king because he is at the forefront of what he does. Maybe that's true in the movie world, but when it comes to Guy Ritchie's story as a director, it seems the rules aren't the same. Ritchie is no longer the strongest beast in the forest, and he is old in the game.

It's not that Ritchie is really old – he's only 51 – So much so that his genre of comedy, which may have waned in the late '90s and early 2000s, has grown in a bad way. It's all part of They are meek The classic Ritchie: Scoundrels of all kinds break through the ever-expanding criminal web, with full sequences for quick dialogue and quick cuts. And it comes with a racial slur which feels very oppressed.

Pearson, an American based in London after finding out that he could earn big money in the face of weeds, wants to retire. His plan to sell his marijuana empire to fellow American Matthew Berger (Jeremy Strong) is complicated by Dry Eye, who wishes it all for himself. The saga is related to the audience with a private eye Fletcher (Hugh Grant), who wants to convince raymond (Charlie Hunnam), left of Pearson, to pay him not to publish a rundown on Pearson's charges.

two white bearded men (Colin Farrell and Charlie Hunnam) looking into the trunk of a car in Gentlemen — Colin Farrell and Charlie Hunnam in *They are meek*.

In clear evidence of the possibility that Ritchie & # 39; s shtick is starting to get dressed, Pearson & # 39; s gangster antics are not as appealing as Fletcher and Raymond dancing alone. Grant's charm, once used to make him a romantic figure, has recently been armed with a series of black roles (Paddington 2, Florence Foster Jenkins, English Terrorism), turning him into the devil he knows. That growth is at its peak here; Fletcher is a fearless convert, who drinks Raymond's food and drink and falls in love with her.

For his part, Hunnam, he makes a good and straight man in a movie full of great personalities, but not all people go for their money. Significantly, Americans feel out of place. Strong, whose Jewish tradition is always on display, seems to have been directed to play a homosexual style, and his commitment to that genius feeling is large enough to deliver his best work. The sequence question.

McConaughey doesn't play too far from his self-control, but his "right, right, power" abilities do not have Ritchie's world. In a world where prominent characters and quick actions dominate the surface, Pearson doesn't really register. Colin Farrell & # 39; s gymnastics coach, whose first goal in life is to make sure the boys they train make good decisions, make a huge impact, even though he is part of Pearson's screen time. But Pearson is still treated with more love and respect than all the Asian characters acting as film critics.

They can be bad people, but that doesn't excuse Ritchie's racist jokes. When introducing Dry Eye, Fletcher refers to him as part of James Bond (Golding in Malaysian and English), entitled “Murder,” and his team is called “Chinamen. "What makes matters worse is that Ritchie seems to know he is in trouble with a problem; a black character issues a problem with being called a" black cunt, "at which point he explains that being insulted is actually not offensive or racist because it means love.

Much like Ritchie's take on forest laws, it doesn't matter if that is true (which it is not) if the principles were not implemented initially. Dry Eye and h is friends are not treated with any romantic feeling, and the whole sequence is dedicated to how funny it is that one of his bosses is called Phuc. Their health, culture, and dignity are all healthy.

A white man in a blue suit (Matthew McConaughey) points a gun at an East Asian man sitting at a table (Tom Wu) as a bearded white man wearing a black leather jacket (Charlie Hunnam) on The Gentlemen watches — Tom Wu, McConaughey, and Hunnam in *They are meek*.

Ritchie style, kinetic style feeling – so powerful The snatching and Lock, Stocks and Two Smoking Lines – I'm not pulling the wool over the eyes of the viewers as well as it used to, and the kind of "good old boys" racism going on throughout the story is disturbing. To praise Ritchie, he almost succeeded in getting one out of his audience, but he is more inspiring than before, and several slow-motion cuts slow down the film that means moving at a bullet train speed.

Fletcher's wish is to have his stories turned into a movie, which is something that sometimes adds humor but mostly serves as a way for Ritchie to show how much he knows about movies – and to cut back wherever his film is. As Fletcher pulls on a digital passing film, Ritchie cuts to the projector's appearance and filmmaking, and the side doesn't register so sweet that it sounds like a dead air.

Lock, Stocks and Two Smoking Lines and The snatching they are always fun, but they are a product of their time, and it seems Ritchie doesn't grow as a director more than he has a lot of money and big stars. You still know you can have a great time – again, Grant is great, and there's little fun finding out how all the pieces fit together – but Ritchie has to grow with the times. In the forest, evolution is king.

They are meek it's in theaters now.