Twistin 12th Sep 2020
| | Rated 4/10Imagine how amazing it would be for moviegoers of, say the 1970's, to see such a slick, technolgically whiplash-inducing film as Revolver, then marvel at the heap of contempt such an effort ultimately generated. The bells and whistles that over-populate director Guy Ritchie's fifth film are simply not enough to carry it past the finish line. Pretentious, comic-book level philosophy beats the viewer over the head amidst a cascade of edgy editing (the first cut of the elevator scene took a MONTH to edit, then several months more work before settling on the version used in the final cut...sheesh!) The cinematography and lighting -- while precision perfect -- add yet more pompous embellishment. Ironically, the dogma Revolver seems to be lecturing to the audience is precisely what drags the film into its own lucid quagmire.
I almost bought into it. I was hoping for something fresh and original, but the more I watched, the more polish chipped away and revealed the shoddy foundation underneath. Allusions (or obstacles) to other cinema auteurs (Lynch, Tarantino, Bergman...to name a few) are painfully within arm's reach throughout.
Most viewers love or hate Revolver, with few riding the center point. The haters have great points to make, but ignore some of the film's qualities. It's not the total catastrophe some may lead you to believe; it begins with the pace of a caper film, a good mystery lurks about, and some of the performances are often compelling. Those characteristics wither, however, and the more light is shed on them, the weaker they get. For added fun, watch the extended / deleted scenes on the DVD for more signs of an already problematic production.
Disciples of Revolver dismiss non-believers of the film's spiritual ideology by stating that it was too deep, and that old chestnut: they "didn't get it". I got it. Guy Ritchie's ego is his own worst enemy.
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