Revolver

Crime films abound in Hollywood because they offer rich natural resources in both characters and plots. Writer/director Guy Ritchie seemed to understand exactly how to mine those resources when he created the cult-classics “Lock, Stock and Two Smoking Barrels” and “Snatch.” After a disastrous straying from the crime genre with his 2002 remake of “Swept Away”—starring his wife, Madonna—Ritchie returns to his roots with “Revolver.” Unfortunately, it seems you can’t go home again. This “Revolver” is not loaded.

In “Revolver,” gambler Jake Green (Jason Statham) emerges from seven years in prison with the perfect winning strategy, learned in solitary from the two cell mates on either side of him. Green uses his method to quickly win mega-bucks from crime boss Dorothy Macha (Ray Liotta), who responds, not surprisingly, by ordering a hit on Green. Out of the shadows emerge “brothers” Zach and Avi (Vincent Pastore and André Benjamin, a.k.a. Andre 3000), who protect Green in exchange for help in their loan-sharking business. The two brothers quickly shake up the crime world, systematically stripping Macha of his money and power, while Green is left trying to figure out who his mysterious employers are.

Ritchie’s take on the crime world has, as usual, some fascinating moments. His slick style of directing, with its quick cuts and seamless transitions, makes the viewer feel the breakneck speed and confusion of the seamy underbelly. And unlike his other films, Ritchie uses this one to to analyze the philosophical aspects of crime. Namely, he delves into what makes a “winner,” primarily through a chess allegory.

But the primary flaw of Ritchie’s more philosophical approach is that he fails to incorporate the lessons. Many pieces of advice, especially, “You can only get smarter by playing a smarter opponent,” are repeated incessantly, boring the viewer to tears. Contradicting this maxim is the film’s other major message: One’s only real opponent is oneself. Furthermore, the situations that arise in the movie hardly promote either of these ideas. In fact, many of the minor story lines are completely incoherent, with plot points coming out of nowhere and having inconclusive or confusing resolutions.

While the movie has many shortcomings, certain actors kept the sinking ship afloat. Pastore (of “The Sopranos” fame) and Outkast’s Benjamin stand out as an unlikely and entertaining crime duo. Pastore, who is tough and sly, and Benjamin, who dresses effeminately and is highly intelligent, have great chemistry and witty banter on screen. Statham is a strong lead as well; however, the sub-par performance of his counterpart, Liotta, undercuts his performance. Liotta’s character is completely one-dimensional and boring. Perhaps to spice up Liotta’s character, Ritchie directs him to walk around nearly naked or showing his bare, 51-year-old derrière, but such sights are painful to watch.

In trying to do too much in this movie, Ritchie fails to do anything. Too many plot twists, many of which don’t make sense, complicate the film. Even the final twist is unsatisfying. Despite Ritchie’s past successes, the most memorable thing about “Revolver” is how unattractive Liotta looks in his underwear.