16 + GUIDE - British Film Institute
16 + GUIDE - British Film Institute
16 + GUIDE - British Film Institute
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Gangster No.1 (2000) Dir. Paul McGuigan<br />
Journal Articles<br />
SIGHT AND SOUND<br />
vol.10 no.8. August 2000, p.6<br />
<strong>Film</strong> news: redundant reviews<br />
This brief article questions why GANGSTER NO.1 did so badly at the box office despite good<br />
reviews, while the similar LOVE, HONOUR AND OBEY took two million pounds despite it being<br />
“reviled”. Amongst the reasons given for this anomaly, was that firstly, not enough was spent<br />
on the marketing, the timing of its release was wrong (Euro 2000 had started) and that it was<br />
caught in a backlash against the current <strong>British</strong> gangster films.<br />
SIGHT AND SOUND<br />
vol.10 no.7. July 2000, pp.45-46<br />
Gangster no.1, by Mark Kermode<br />
Kermode’s review of the film describes it as “a handsomely ugly affair” and picks up on the<br />
juxtapositions within the film and the crime underworld it depicts.<br />
Press Articles<br />
INDEPENDENT ON SUNDAY<br />
13 th August 2000, p.1<br />
Crime on film, and off, doesn’t pay, by Jason Nisse<br />
A convoluted but interesting article that looks at the disappointing box office takings of<br />
GANGSTER NO.1 and of the involvement of Richard Thompson, whose company, Civilian<br />
Content had bought the films production company, Pagoda.<br />
NEW STATESMAN<br />
12 th June 2000, pp.45-46<br />
Dying cult, by Jonathan Romney<br />
This article has Romney noting the Oedipal/father figure obsessed qualities of recent <strong>British</strong><br />
gangster films, before going on to review GANGSTER NO.1. While applauding the film for<br />
being better than a lot of recent <strong>British</strong> gangster films, in that it does not go for cheap laughs,<br />
it is still to some extent style-obsessed, and while “several cuts above the rest…it’s still not<br />
much more than a dazzling parade of dead bad dads”.<br />
THE GUARDIAN<br />
9 th June 2000, p.4<br />
Street fighting man, by Peter Bradshaw<br />
Describing how the “talentless lottery gangster film has pretty well become a contemporary<br />
cultural crisis” Bradshaw applauds GANGSTER NO.1 for being “a film with a canny yet<br />
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