A number of British directors have helmed stellar crime oriented dramas in the years gone by. Examples include the consistent Guy Ritchie's Snatch (2000), the prolific Matthew Vaughn's Layer Cake (2004) and even Peter Collison's original Italian Job (1969). British cinema has also delivered the works of Ian Fleming, with the latest Bond film, Skyfall, marking half a century of Bond movies and accumulating a worldwide gross in excess of a billion dollars.
Nonetheless, all of the above movies have the advantage of being Hollywood productions. Welcome to the Punch, on the other hand, does not have the distinction of a massive budget or a household name. Nonetheless, Eran Creevy's attempt at a crime caper is a step in the right direction. After making his debut with the impressive Shifty (2008), Creevy makes his foray in the action genre. The outcome is an effective and intense movie.
The premise focuses on headstrong officer Max Lewinski (James McAvoy), who was thwarted in his pursuit to apprehend elusive fugitive Jacob Sternwood (Mark Strong). Their confrontation ended with Sternwood shooting Lewinski in the knee before absconding with his fellow criminals. Fate presents Lewinski with a shot at redemption three years later when Sternwood is coerced out of his refuge courtesy of his son being shot in London. Thus, Lewinski is afforded a second chance to exorcise his demons. Chaos ensues as the principal characters become entangled in an intricate web of revenge, politics and corruption. Alongside the leads, Creevy has assembled a potent, exclusively British cast. Andrea Riseborough stars as Sarah Hawks, the composed yet ultimately naïve partner of Lewinski. The movie marks another notable, albeit limited, performance by Riseborough, a burgeoning British talent. The role of police chief Thomas Geiger is played by David Morrissey, renown for being The Governor on heralded television series The Walking Dead. The rest of the cast comprises of Johnny Harris as an ex-soldier turned mercenary, Peter Mullan as Sternwood's trusted ally and a transient appearance by Jason Flemyng.
McAvoy refuses to be bound by stereotype as a seething and desperate cop in dogged pursuit of Sternwood. Hell bent on atonement, he excels as his character illustrates the physical and psychological ramifications of being felled by a bullet to his knee. Although not a physically intimidating figure, McAvoy renders an imposing portrayal nonetheless and exhibits versatility throughout the movie. On the other hand, perennial villain Mark Strong delivers another performance as the antagonist following roles in Sherlock Holmes, Kick-Ass and John Carter.
Eran Creevy has previously stated being heavily influenced by Hong Kong filmmakers Andrew Lau and Alan Mak. Furthermore, Welcome to the Punch is comparable to Michael Mann's style of direction, particularly Heat (1995). Creevy delivers a slick, visually confident movie that serves as his tribute to his inspirations. He wastes no time, as evidenced by the opening salvo of the film: an engaging chase sequence filmed at Canary Wharf, London. The neon blue glow adds weight to the film, especially the action scenes.
Like Shifty, this is set entirely in London. The capital is almost a distinguished character in the film. It is shown as a metropolis in all its glory and shines throughout. The skyscrapers are amplified by the blue tint as well. The crew, specifically the director of photography and the sound department deserve an honorable mention. Welcome to the Punch is a visually ambitious fare and the score complements the overall setting well.
Creevy, who also wrote the film, is culpable for a few misdemeanors. He may be deemed to prioritize style over substance. The focus from the inception till the climax is predominantly on action, sporadically compromising other key aspects of the film. As a consequence, the movie is bereft of character detail and development. The dynamic between Lewinski and Hawks is underdeveloped, for instance. With a runtime of just under a hundred minutes, the clarity suffers from the frenetic pacing.
Ultimately, Welcome to the Punch is an aptly names gritty thriller with solid credentials. It is certainly a commendable and competent crime caper.
Nonetheless, all of the above movies have the advantage of being Hollywood productions. Welcome to the Punch, on the other hand, does not have the distinction of a massive budget or a household name. Nonetheless, Eran Creevy's attempt at a crime caper is a step in the right direction. After making his debut with the impressive Shifty (2008), Creevy makes his foray in the action genre. The outcome is an effective and intense movie.
The premise focuses on headstrong officer Max Lewinski (James McAvoy), who was thwarted in his pursuit to apprehend elusive fugitive Jacob Sternwood (Mark Strong). Their confrontation ended with Sternwood shooting Lewinski in the knee before absconding with his fellow criminals. Fate presents Lewinski with a shot at redemption three years later when Sternwood is coerced out of his refuge courtesy of his son being shot in London. Thus, Lewinski is afforded a second chance to exorcise his demons. Chaos ensues as the principal characters become entangled in an intricate web of revenge, politics and corruption. Alongside the leads, Creevy has assembled a potent, exclusively British cast. Andrea Riseborough stars as Sarah Hawks, the composed yet ultimately naïve partner of Lewinski. The movie marks another notable, albeit limited, performance by Riseborough, a burgeoning British talent. The role of police chief Thomas Geiger is played by David Morrissey, renown for being The Governor on heralded television series The Walking Dead. The rest of the cast comprises of Johnny Harris as an ex-soldier turned mercenary, Peter Mullan as Sternwood's trusted ally and a transient appearance by Jason Flemyng.
McAvoy refuses to be bound by stereotype as a seething and desperate cop in dogged pursuit of Sternwood. Hell bent on atonement, he excels as his character illustrates the physical and psychological ramifications of being felled by a bullet to his knee. Although not a physically intimidating figure, McAvoy renders an imposing portrayal nonetheless and exhibits versatility throughout the movie. On the other hand, perennial villain Mark Strong delivers another performance as the antagonist following roles in Sherlock Holmes, Kick-Ass and John Carter.
Eran Creevy has previously stated being heavily influenced by Hong Kong filmmakers Andrew Lau and Alan Mak. Furthermore, Welcome to the Punch is comparable to Michael Mann's style of direction, particularly Heat (1995). Creevy delivers a slick, visually confident movie that serves as his tribute to his inspirations. He wastes no time, as evidenced by the opening salvo of the film: an engaging chase sequence filmed at Canary Wharf, London. The neon blue glow adds weight to the film, especially the action scenes.
Like Shifty, this is set entirely in London. The capital is almost a distinguished character in the film. It is shown as a metropolis in all its glory and shines throughout. The skyscrapers are amplified by the blue tint as well. The crew, specifically the director of photography and the sound department deserve an honorable mention. Welcome to the Punch is a visually ambitious fare and the score complements the overall setting well.
Creevy, who also wrote the film, is culpable for a few misdemeanors. He may be deemed to prioritize style over substance. The focus from the inception till the climax is predominantly on action, sporadically compromising other key aspects of the film. As a consequence, the movie is bereft of character detail and development. The dynamic between Lewinski and Hawks is underdeveloped, for instance. With a runtime of just under a hundred minutes, the clarity suffers from the frenetic pacing.
Ultimately, Welcome to the Punch is an aptly names gritty thriller with solid credentials. It is certainly a commendable and competent crime caper.