Something that you will deny even exists until it's too late to do anything about it. It's the only reason you get up in the morning, the only reason you suffer the shitty boss, the blood, the sweat and the tears.
This is because you want people to know how good, attractive, generous, funny, wild and clever you really are. We're approval junkies. We're all in it for the slap on the back and the gold watch. The "hip, hip, hoo-fucking-rah.
Shine on, you crazy diamond. Cos we're just monkeys wrapped in suits, begging for the approval of others. Sign In. Play trailer Action Crime Drama. Director Guy Ritchie. Luc Besson adaptation Guy Ritchie. Top credits Director Guy Ritchie. See more at IMDbPro. Trailer Clip A Guide to the Films of Guy Ritchie. Photos Top cast Edit. Vincent Pastore Zach as Zach. Andrew Howard Billy as Billy. Mark Strong Sorter as Sorter. Anjela Lauren Smith Doreen as Doreen. Elana Binysh Rachel as Rachel. Bill Moody Al as Al.
Stephen Walters Joe as Joe. Vincent Riotta Benny as Benny. Guy Ritchie. More like this. Watch options. Storyline Edit. After seven years in solitary, Jake Green is released from prison. In the next two years, he amasses a lot of money by gambling. He's ready to seek his revenge on Dorothy Mr. D Macha, a violence-prone casino owner who sent Jake to prison. He humiliates Macha in front of Macha's lieutenants, leaves, and keels over. Doctors tell him he has a rare disease and will die in three days; Macha also puts a hit out on him.
Loan sharks, Zack and Avi, demand Jake's cash and complete fealty in return for protection. Jake complies, and through narration and flashbacks, we watch him through at least three days of schemes, danger, and redemption. Who is his greatest enemy? By protecting Dorothy Macha Liotta, fiercely committed , a gambling boss, after taking the fall for a series of card games Jake cheated during.
Why, get his revenge, of course -- just a little under duress from the dynamic criminal duo Avi and Zach Benjamin and Pastore. What ends? These folks are capital C Conflicted, gripping and griping with their sins, sometimes speaking literally with their interior monologues. Or are they?
Again, as lightly as I can tread, Ritchie dives into dissective areas previously visited by works like Fight Club , and hints at a fundamental core later explored by works like BioShock.
Never did, never will. I think?? Thankfully, it never feels slow or boring, even when it becomes didactic by design. The craft on this sucker is equal parts exquisitely controlled and completely driven by whim. Characters speak to each other in immaculately framed, patient shot-reverse-shot sequences within a wider-than-usual 2. And somehow, these delirious choices work, propelling Revolver onto its own wackadoo wavelength also, Nicolas Winding Refn owes this film residuals. But, if Revolver was produced now as a prestige TV genre drama -- a Legion , if you will -- it would be showered with praise and swimming in awards.
But maybe Revolver has always been the mark -- the strange, shapeshifting, sometimes-maddening mark -- and maybe his other films are the misses.
To paraphrase one of the many purple pieces of prose in the film, maybe Ritchie finally won the game by embracing the pain -- we were just all on the wrong board.
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