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A nameless cocaine dealer who treats his merchandise like any other commodity and distances himself from the criminal underworld is about to retire. But he is called upon by a local gangland boss to find a missing girl. Then he gets involved in an ecstasy deal that brings him to the attention of a Serbian hit-man. Can he stick to his plan and get out before he gets killed?
First-time director Matthew Vaughn previously produced “Lock, Stock and Two Smoking Barrels” and “Snatch”. Guy Ritchie’s influence can be clearly felt in this slick but violent British gangster film; there’s the London setting, a snappy script, plenty of swearing, crosses and double-crosses, brutal implicit and explicit violence and an underlying misogyny that suggests that women are only good for one thing. Where it differentiates from Ritchie’s back-catalogue is in the origin of the script, the composition of the cast and the shooting style. The script was penned by JJ Connolly, adapted from his novel of the same name. It uses the same gimmick as the book by refusing to name the main protagonist. The cast consists mainly of men in their thirties and beyond, so the level of maturity has gone up a notch from Ritchie’s films. There’s less reliance on cheeky chappies trying to get one over on the old guard and a more reasonable roster of career criminals going about their business as if it were well, a business. It’s less immediately engaging than a load of photogenic mockneys shooting the breeze, but it’s a more realistic take on the criminal underclass. Not to say that this film has any claims on being a gritty documentary on the drugs trade. Though it looks glossier than previous Vaughn/Ritchie collaborations, it has a harder centre. The geezer
types favoured by the genre are sidelined as comically inept wannabes or men who’ve got beyond that phase. This is a London based gangster flick, but it is shot in the style of a Hollywood thriller. So we get lots of photogenic locations, coupled with cool interiors and designer-clad performers. Even the grottier locales look strangely sanitised.
The performances throughout are consistently good, as you would expect from a cast that includes some of the elder statesman of British acting and a coterie of reliable character actors. Daniel Craig has been lumbered with the “next big thing” label for ages, but has so far failed to capitalise on his promise, preferring to stick to good roles in small films. Here he plays XXXX, as the lead character is called in the credits. There is no doubt that he is a very good actor. His ability is proven here by what he doesn’t do rather than in what he does. He plays the role as a brooding, enigmatic, tight-lipped soul who prizes discretion above all and despises those who are in the game for glamour and notoriety. His most telling dialogue comes in voice-over, so his facial expressions are left to do the talking and those piercing blue eyes can say a lot, given the chance. It’s a strong central performance around which all the others pivot. I just hope Craig capitalises on his chance this time.
Colm Meaney is one of those supporting actors who is never out of work and for good reason; he’s a fine actor in his own right. Here he plays Gene, enforcer to a gangland boss and manages to be both menacing and charming, even when he’s beating someone to a pulp. Kenneth Cranham gives a good performance as ambitious crime boss Jimmy, mainly because he looks like he’s lived and reptilian doesn’t begin to describe him. Michael Gambon trades in his usual accent for one of the East End persuasion as rival perma-tanned tycoon Eddie. He exudes businessman-like charm, but you know he’d happily kill you if you got in his way. Jamie Foreman is equal parts bravado and brainlessness as would-be bling boss The Duke, a man who couldn’t sell a lifebelt to a drowning man. There are even small roles for “Lock, Stock” alumni Dexter Fletcher and Jason Flemyng, both of whom are playing their Cockney rogue cards again. The women are relegated to being eye-candy, and in Sally Hawkins case, a high-pitched Essex harpy, who thankfully gets her just desserts.
As the title suggests, the film is a multi-layered confection that relies on multi-perspective exposition to explain the many twists and turns. It is tightly plotted, but some shoddy framing shows the director’s hand a little early in one case (just keep your eye out for a digger and you’ll see what I mean). But the ending is a real shock. The current favourite storytelling tool of voice-overs is employed but feels right for the film. After all, aren’t today’s gangster films the successors to film noir? The violence throughout is brutal, whether it is implied or presented in all its gory glory. Still at least it doesn’t shy away from the real consequences of a good shoeing. The director even shows the impact committing murder can have on your mental health.
The costumes are generally conservative, with the majority of characters sticking to well-tailored suits. However, there are one or two fashion faux-pas that stick out. Someone should have told Daniel Craig’s costumier that white suits are for waiters and the Bee Gees, especially when worn without a belt.
The soundtrack is yet another that relies on trotting out the same old eighties’ tracks because that’s the in thing to do. So we get The Cult doing “She Sells Sanctuary”, Candi Staton on “You Got the Love” and former pretty boys of pop Duran Duran. At least there’s a variety of different styles and we aren’t subjected to the latest boy band doing a cover of “I Should Be So Lucky” or some other horror.
Overall, this is a competent late addition to the canon of nineties’ British gangster movies. The central conceits work well, there are sterling performances from all concerned and enough twists to keep you occupied for the full hour and three-quarters running time. My main problem with it is that it glorifies the lifestyles of its protagonists, who are variously amoral drug dealers, thieves and murderers. The opening sequence shows drugs packaged like French Connection merchandise, setting the scene for the rest of the movie; drugs are valuable commodities that people want and are prepared to do anything for. Though some of those involved meet sticky ends, we are given the impression that crime pays, as long as you keep your head down and have a legitimate business as a cover. It’s like an advert for high-end crime and I am grateful that it has a fifteen certificate otherwise the local teen gangstas would be getting all kinds of ideas. I also have a problem with the way the film objectifies women; suggesting that only dolly birds are worth looking at and that’s only if you want to sleep with them. Sure the film’s stylish, but it’s not good enough to climb above the rank and file of the sub-genre. Those with a strong stomach and a well-developed sense of right and wrong will enjoy it, though some aspects may stick in your throat.
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Advantages: Excellent cast and crew that makes it a very real movie. Not in the slapstick Cockney Geezer mould of Snatch and Lock Stock Disadvantages: A little dark in places that a few people might find disturbing, slows down a little now and again but not majorly
Andy.mack 20.03.2005 ·
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Ciao members have rated this review on average: very helpful
Review of Layer Cake (DVD)
![Layer Cake [DVD] [2004]](http://picnica.ciao.com/uk/78505598.jpg "Layer Cake [DVD] [2004]")
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