Welcome to the Punch

The plot has several twists and turns, and thriller elements are catchy to follow - but it seems, however, that the screenwriter was very eager to add sophistication and all this resulted in a series of unlikely and strained scenes. Heists are seldom carried out with stylish clothes and technology in-sync, and ambitious corruption is not a sign of the UK police force - to name a few odd things... The ending scenes and the very end are scheming as well.

The male cast is strong and even, particularly James McAvoy as Max Lewinsky, Mark Strong as Jacob Sternwood and Peter Mullan as Roy Edwards. Female characters tend to be sketchy and were uninviting to me.

Although no Boyle or Ritchie, Welcome to the Punch is still more than a B-film. Violence is not playful, crime is gloomy and good persons tend to die as well...

When thinking about English Police dramas, The Bill usually comes to mind, episodes where two overweight police officers would run around estates trying to find out who robbed the local Sainsbury's. Thankfully, Welcome To The Punch, is a lot more sophisticated and glamorous than that, directed by Eran Creevy ,(who also made the fantastic Shifty), this film features quite possibly the most beautiful presentation of London as a modern city that I've ever seen on the big screen. But visuals are only part of a film, so how was the rest of it....

Dropping us right into the middle of a complicated heist, we see rugged cop Max (James McAvoy) ignore orders and get shot in the leg by one of the criminals (Mark Strong, bald bad guy from Sherlock Holmes). The film then zoom three years into the future and we're on board a plane, where a young Asian/Arab man reveals he's been shot and runs off the plane (it hadn't taken off yet, or that would have just been silly), whereby he calls his dad to come and help him.... his dad who happens to be the criminal we saw shoot the cop three years ago!!! Madness. This all leads to a broken down and now permanently injured cop Max realising that this is his big chance to get vengeance for what happened three years ago....but is everything as clear as it seems, who is he actually chasing?

This film is no classic, in fact, it's just about verging on being a good film, for all the spectacular scenes of explosions and shoot outs, there lacks an intensity to the film, James McAvoy does well in his scenes as a cop who's seemingly given up on life, but it's hard to really believe he is a tough and guilt-ridden cop when he still looks about 12 years old (even with a beard). To it's credit, the story does manage to change it's focus numerous times, and these twists initially kept me engaged with the plot, characters we hate manage to gain sympathy and vice-versa, but after a while, the plot just becomes too complicated, and verges on becoming a comedy. So overall, a decent film, one worth checking out on a Friday night if you're a fan of action, but in no ways a film that changes the genre.

6/10

Welcome to the Punch...I think...

So, I actually managed to get to the advanced screening of Welcome to the Punch this evening. Unfortunately, not a single one of my 150ish London based Facebook friends could accompany me to the free advanced preview of the film and, at first, I must admit that I was very disappointed. But now, I find myself wondering whether they knew something that I didn't!

Eran Creevy, writer and director sets the stage clearly with an opening sequence that plays out in London's glossy, glass and steel covered Canary Wharf. It pulls us in straight away. We find ourselves almost immediately invested in both the protagonist (James McAvoy as Max Lewinsky, detective cop chap whom we're meant to root for) and antagonist (a stern Mark Strong playing naughty bad guy, Jacob Sternwood), willing the story to tell us more about these two characters and the motivations behind their actions.

Borrowing heavily from the audio visual flare of Nolans bat films, particularly 'The Dark Knight', we're lead to believe that a stylish cat and mouse action / crime caper in the style of Heat awaits us. I honestly found myself asking whether this could actually be the British 'Heat' after the first 10 minutes or so. Unfortunately, about 15 minutes in, my first 'gripe' smacked me in the face (from McAvoy's performance no less!) This was followed by the second, and the third, and continued to do so until the end finally came, with a twist that was visible from a mile away and a convoluted plot that had to be explained through exposition about 10 minutes before the film ended.

Relationships between characters felt shallow and under developed, making empathy nigh on impossible and ultimately, leaving me somewhat bored of the whole thing. None of the questions that the film raises in our minds as we progress through its 'narrative' are answered and I was left feeling cheated every time. The audience needs to know why certain things are happening surely?; Sternwoods treatment of Lewinsky and vice versa, for one. So why not just tell us?

The cast deliver strong performances with what material they have bar McAvoy, surprisingly, who gave one too many clichéd reactions which caricatured our hero and made us less sympathetic to his plight.

For all of the films good moments it has its bad and ultimately, the bad simply overpowered the good. The little niggles (in the form of conveniently placed tools, bad aim etc.) and wannabe Bourne esque plot, along with a serious lack of satisfaction from the 'bad guy' being trumped (because, technically, the 'bad guy wasn't) made the film a lot poorer than it rightly deserved to be. Because from a technical stand point, the film looks and sounds great. And the story still feels interesting, and I want to know more. But, with the serious lack of character development and exploration of their (implied) back stories, the film finds itself lying flat on its gun riddled back after its 99 minute runtime.

Sadly another missed opportunity for British cinema.

Unless of course, this was designed as an Infernal Affairs style film and a prequel / sequel fills in all the 'gaps'?

Welcome to the Punch opens nationwide on 27th March.

Rutvig Vaid.

It's been a long time since I have seen so much advance publicity for a film. Underground stations and trains, buses and billboards in London seem to be festooned with posters advertising "Welcome to the Punch". There has also been a noticeable TV advertising campaign in the UK, aimed at plugging the film's supposed entertainment value. It is clear that "Welcome to the Punch" has a substantial PR budget attached to it. I am not surprised that so much effort is being made to convince potential viewers of the film's credentials. Although "Welcome to the Punch" is a reasonably entertaining film, it is ultimately a disappointing one. It has more style than substance. It's a slick, glossy thriller that looks expensive. However, it is also a bleak film with (apart from one funny scene that is a strangely effective mixture of humour and tension) little to lighten its almost unremittingly depressive milieu.

"Welcome to the Punch" is an attempt at modern day noir. It seems to me to have been heavily influenced by some of the recently successful TV crime series emanating from continental Europe (primarily Scandinavia), such as "The Killing", "Borgen" and "Spiral". However, it's not as good as any of those programmes. A few years ago, criminal mastermind Jacob Sternwood (Mark Strong) injured London detective Max Lewinsky (James McAvoy) and fled to Iceland to escape the clutches of the police. He has now returned to London because his son has been shot and injured and is critically ill. This gives Lewinsky the opportunity to try to apprehend him for his past misdemeanours. Thus begins a complex tale of revenge, political and police corruption and obsession.

"Welcome to the Punch" is entertaining. It is beautifully filmed and is a visually confident film that is a delight to look at. The acting is, for the most part, good - there is very effective support from the likes of Peter Mullan, Daniel Mays and David Morrissey. The soundtrack too is spot on. So, why is it no better than an averagely good film? Well, for one thing, the plot is so complex that it is sometimes difficult to follow. There is, for example, one scene in which the behaviour of a character (which ultimately leads to her being killed) is simply inexplicable. We have to wait a further 30 minutes or so for an explanation of why she did what she did. This is most definitely a film that requires the viewer's undivided attention - so much so that watching it sometimes seems to be much more of a chore than a pleasure. In addition, it is sometimes difficult to discern, amidst the frequent scenes of gun violence and mayhem, exactly which character has been injured or killed. This is because several of the actors have a similar physical appearance to each other and because the action all too often takes place in a darkly lit, brooding atmosphere that makes it difficult to see exactly what is going on. McAvoy gives a very good performance as the obsessive detective hellbent on revenge (despite occasional lapses with his London accent!). And it is certainly the case that "Welcome to the Punch" is a stylish film. But it is ultimately also a bleak and empty one that, despite the money and behind the camera talent expended on it, barely raises itself above the level of a competent thriller. 6/10.

Inspired by Hong Kong 'heroic bloodshed' flicks, this hardnosed cops 'n' robbers tale certainly lives up to its name. James McAvoy's supercop exhibits a dogged intensity in his hunt for Mark Strong's antiheroic supercrim. During their heated cat-and-mouse game, the two uncover a conspiracy much bigger than their own dispute.

The two leads keep things moving along nicely with their ambiguous dynamic, with a supporting cast of familiar faces picking up back-end duties rather nicely. Special mention must go to Shane Meadows favourite Johnny Harris who, as a cold-blooded ex-military henchman, exudes a barely-restrained predatory animalism, familiar to those who saw him in This is England '86. Top performances, decent pacing, and an ending which refuses to settle it all in quite the neat and tidy way one would expect.