London Boulevard - Crime e Redenção
Dirigido por William Monahan
Um homem, acabado de sair da prisão, tenta não voltar á mesma vida que levava. Consegue arranjar um trabalho como segurança duma actriz que vive quase em reclusão.
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London Boulevard - Crime e Redenção Avaliações & Comentários
- ርልዪረ4 de abril de 2026London Boulevard uses the age old premise of a former criminal let loose from of prison for the first time in years and spins a wiley little tale about this person getting involved in, and up to his neck in, all manner of criminal shenanigans of which he feared the veering back toward. Blurring lines between what it is a harder, meaner British gangster film of old and what might be conceived as a lighter, more comically imbued piece reminiscent of far recent-a gangster episodes, American born William Monahan, here debuting behind the camera whilst working off of his own script, weaves an enjoyable crime drama from a source material that knows its place; realises its inspirations and constructs a nourishing character driven tale predominantly operating within the realms of archetype. Colin Farrell plays the lead, a young Englishman named Mitchell fresh from the confines of a jail cell now out and about as summer comes to an end looking for some kind of work amidst the mingling with some old friends; former criminal cohorts and loose family members. As a character, we sense Mitchell is reformed; his rueful expressions as he lies in his cell give way to the foiling of a robbery once outside two youths were about to execute on an unsuspecting young woman withdrawing cash from a bank machine; as, on another occasion, he donates whatever cash he did have to a homeless man he goes back rather far with. His change in conscience runs hand in hand with definitive changes on the outside; an old contact, now more broadly linked to crime and criminal syndicates, named Billy (Chaplin) informs Mitchell that Britain is now smoke free. A later, smaller but pleasingly intricate moment sees Mitchell standing on a public street and looking on in a confused fashion at a Muslim woman walking on the other side - her observing of Muslim law, walking dressed in full respective gear-plus veil, additionally going a way in establishing Mitchell's newfound sense of alienation from the world he left when compared to the one he now occupies. As things unravel, our lead becomes more involved in the life of a Britsh actress named Charlotte (Knightley), a softly spoken and rather shy woman now living through the ill-gotten consequences of the stardom, celebrification and the glamour which imbues her profession. She spends most of her days indoors whilst limply wrapped up in a cardigan; young, confused and coming across as somewhat vulnerable, she is in stark opposition to Mitchell's heavier build and more aggressive demeanour. Charlotte's hiring of Mitchell through an often spaced out former actor friend named Jordan (Thewlis) to guard her; reassure her and chip in with some manual labour is the latest edition to a shrouded life born out of a career on the continent in the niche film market. Indeed, it is Jordan whom rather dryly points out, in the process citing Noé's 2003 film Irreversible, that had it not been for Monica Bellucci, Charlotte may very well be "the most raped actress in the history of European art cinema", thus establishing a distinct on-off screen set of characteristics that paints portraits of her charisma and sheer bravery but introversion off it. Additionally, Mitchell's observing of some billboards housing Charlotte looking glamorous as he nears her guarded compound sees several of them change colour from red to blue, hinting at such a duality and mixture of identities, while his arrival at her dwelling to a song on the soundtrack blaring out the lyrics "I'm your man....." wholly reiterates his cause for being there. Complications arise when Ray Winstone's Robert Gant enters proceedings, a Rolls-Royce owning; chauffeur driven heavy weight London gangster with a short fuse; a clan of tough heavies and a penchant for regressing back to a disturbed childhood every time he violently eliminates somebody. With Winstone's trademark East-End accent and the manipulation of the man's star power, Gant is good value as a walking, talking stereotype; Bob Hoskins' The Long Good Friday character Harold Shand by way of a Spitting Image puppet. When he comes to confront Mitchell in a halfway-house, the man tries to infiltrate Mitchell's life; the suggestion of planting cell phones onto his person and suggesting other such ideas so that he may worm his way into Mitchell's life as his lackeys loom out of sight behind him in this, an enclosed terrace house, working well. The crux of the film is made up of the bond between Charlotte and Mitchell, ties that they share via an alienation or a disenchantment at the world; the Britain or universe as they know it which has seemingly disappeared and rendering the pair of them ailing, flailing people turning their noses up at what they did because it has brought barely anything more than grief and confusion. Their ties eventually come to see them feel rather fond for each other; the inescapable sensation of the world around them persistently there to eat one up again calling to mind a number of past films and here, working well in its drawing on inspiration from rather than straight up lampooning. Monahan weaves this love story with a revenge sub-plot that opens up early on with all of this as well as Gant's persistent, looming presence really rather well; the majority of the characters, right down to a corrupt police officer character whose facial features has him look like he's just raided a joke shop and pasted an array of faux-disguises onto his face, integrating with one another and flitting in and out of each and everybody's lives in an ambitious manner which is reigned in and kept grounded; resulting in a competently executed film.
- makdelart18 de novembro de 2025Stylishly told, cool photographed, with great music, a London accent and an instructive ending.
Trívia de London Boulevard - Crime e Redenção
London Boulevard - Crime e Redençãofoi lançado em 26 de novembro de 2010.
London Boulevard - Crime e Redençãofoi dirigido por William Monahan.
London Boulevard - Crime e Redençãotem a duração de 1 h 43 min.
London Boulevard - Crime e Redençãofoi produzido por Quentin Curtis, Graham King, William Monahan, Tim Headington.
Um homem, acabado de sair da prisão, tenta não voltar á mesma vida que levava. Consegue arranjar um trabalho como segurança duma actriz que vive quase em reclusão.
Os caracteres-chave em London Boulevard - Crime e Redenção são Harry Mitchel (Colin Farrell), Charlotte (Keira Knightley), Jordan (David Thewlis).
London Boulevard - Crime e Redenção é avaliado M/16.
London Boulevard - Crime e Redenção é um filme de Drama, Crime.
London Boulevard - Crime e Redenção tem uma classificação de audiência 3de 10.
London Boulevard - Crime e Redenção teve um orçamento de US$ 25 mi.
London Boulevard - Crime e Redenção fez US$ 8,3 mi na bilheteria.