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I just saw the gala premier at TIFF and overall, I enjoyed the film. The acting was terrific, with Jude Law playing Dom Hemingway in the lead. The first few minutes of the movie had me wondering what I had gotten myself into, as it really starts off with a bang (or a blow, perhaps). That feeling of not quite knowing what I was watching stayed with me for a bit, as the movie is vulgar, violent, funny, and awkward, sometimes all at once. In the end, I liked I really liked it and found myself rooting for Dom despite having a bunch of reasons not to. It's worth watching for the terrific acting, and the moments between Dom and Dickie when things get tense are great.

Richard Shepherd's latest film is a maelstrom of bad behaviour in the best style of British crime comedies - it's impossible to not liken it to Guy Ritchie and his ilk - but this one stands out from the crowd as it features a stunning performance from Jude Law - he may have started his career with man in touch with his feminine qualities but here he is the full monty as the mockney gangster on steroids. Law cannot be accused of a lack of a commitment - he throws himself in with palpable relish - and shouts and swears his way in a remarkably winning performance. Subtle it ain't - but man it is genuinely entertainment, pure and simple.

The lasting impression is the tremendous energy of the script and Jude Law - it could really be a stage play in places - it is not often these days that movies create energy through an excellent script, rather than energy by effects - this does.

No way is this the greatest film of the year - but Jude Law's performance is full of sly humour, and Richard E Grant obviously loved being the dry sidekick - there is more than a touch of Withnail to the whole proceedings and he is superb.

Dom Hemingway avoids squeamish violence in the main and goes for the jugular in its script instead - it even has more than a touch of pathos admid the insanity. All in all, if you like films with some style, real laughs, and energy - and crude craziness - then this fits the bill better than most.

Admittedly there's not much to this film outside of Jude Law's force of nature performance, he's a filthy, foul mouthed monolith of vulgarity and nastiness, and a joy to watch, it's a true revelation of a turn for the actor, breaking his posh, pretty boy image to pieces and gobbing on those pieces. Sure there's not much to the script or story, which are threadbare and under nourishing, plus Richard E Grant is somewhat wasted despite being rather wonderful, and there are many coincidental contrivances that sully the film a bit towards the end, but enjoy it for Law, for the stylish, off kilter approach to the British gangster movie genre, for the many gloriously profane monologues and the general fun depravity of the thing, plus it gets extra points for being surprisingly moving come the third act, which does not seem remotely likely given the first two thirds. A solid cult movie in the making.

"A man with no options suddenly has all the options in the world", says the chain-smoking, whiskey-muddled, and articulate but filthy Dom Hemingway. Proclaimed the greatest safe-cracker of the ages, Dom Hemingway (Jude Law, Closer) is back on the streets after twelve years of solitude (twelve years is a running theme of 2013, it seems). His daughter grown up, his partner without his left hand, and in dire need of his earnings, he pursues his criminal associates (a twirly moustache Frenchman, surprise) in search of his deserved reward. Verbose and foul, Dom is a walking thesaurus, a drunken Shakespearean, using more words in a sentence than one should in a lifetime – for example, the opening sequence is a two-and-a-half minute monologue about his cock. That about sums up Dom Hemingway, an enjoyable albeit shallow dark comedy.

A watered down Bronson, a film of similar premise, Dom Hemingway is delightfully dark, similar to his psyche – he is disgusting, filthy, violent and loud, but he retains an iota of charm, one of the few things dragging the film along. Bearing numerous similarities to Refn's prisoner character study, Dom Hemingway is truly a visual feast: the pumping nightlife of downtown London is full of colour and life. The screen is constantly full of greens and yellows, reds and pinks – it isn't dull to look at. While it isn't as intrusive and cerebral as Refn's terrifying glimpse into the mind of a madman, Dom Hemingway and Bronson share two familiar traits: a strong cockney accent and a loud mouth.

While they may retain similarities, they are largely superficial – I must apologise for my comparison of the two, they are different films, but it fluently highlights Dom Hemingway's numerous flaws. Dom's charisma simply doesn't compare to that of Bronson's, from the way he carries himself to the way he walks through the streets and alleys. While the loud and ostentatious Bronson was an addict to attention, Dom slinks into the shadows the way he slinks into a chair; sleazy and slouched. When opportune, he indulges in delightful monologue, Shakespearean in his formidable vocabulary, but it all tastes a slight bit overdone. The script, like Hemingway himself, is largely self-indulgent and masturbatory, and is surely tiresome.

Ignoring the occasionally obnoxious monologue, Dom powerfully commands the screen, even if his persona is quite the opposite. Separated from his cigarettes and whiskey for twelve years, he takes great pleasure in his intoxicated over-indulgement. For example, over three days Dom compensates for twelve years of seclusion with alcohol, drugs and prostitutes – but it doesn't really work, he just ends up very hungover indeed. Such is the life of Dom Hemingway, fuelled by toxicants and greed, when there really are better things to do – reconnect with his long-since abandoned daughter perhaps. Dom's antithesis, his daughter Evelyn (Emelia Clarke, Game of Thrones), is a force to be reckoned with; the opposite of her father's boisterous exterior, she is instead quiet and passive. Contrasting the pounding nightclubs of London, she sings in a country club, her voice soft and soothing compared to her father's loose and loud tongue.

Unfortunately, Dom Hemingway has little punch. The first act is incredibly enjoyable, but act by act, its quality subsides. Fast paced exposition, into an extremely average midpoint, into an abysmal climax (I must admit I enjoyed the final scene), it grew less and less entertaining. Dom Hemingway forgot what it set out to be – its foul-mouthed, violent charm was abducted and replaced by a crowd-pleasing father-daughter subplot. It was unnecessary, contrived, and clichéd. The obnoxious American's shoehorned exposition was similarly sloppy, revealing the (already obvious) moral of the story in last-minute exposition – it became extremely unnecessary and artificial.

Jude Law performs excellently, as does the majority of the cast, yet Hemingway's left-hand-less right-hand man Dickie (Richard E. Grant, The Corpse Bride) completely steals the show, injecting wit and energy into every scene, contrasting Hemingway's rambunctious bluntness. Unfortunately, it isn't enough to elevate Dom Hemingway's paradoxically undercooked-while-overcooked dialogue. With an over-emphasis on Hemingway's verbose monologue and an under-emphasis on every else, Dom Hemingway is a superficial, attractive, generally fun film with little depth – I'm sure no one would be bothered if they saw this as a rental, but I wouldn't suggest going out of your way for it.

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Most people know Jude Law as a slick, English character, who in real life might be exactly the same.

But from the first, very confronting second, it's clear that he is much, much different. Without spoiling anything, you'll find him confronting, arrogant, taller, more muscular than ever before. It will shock you, surprise you but even more important: entertain you.

Law takes us to life after prison, to find out much has changed, except for him. In his head, he is still a legend and acts like one, while realizing that his life and his time in prison cost him dearly.

Be warned: the way Law acts, approaches the line between acting and over-acting, which will take a lot of your patience. But Law manages to do it tongue-in-cheek, while still displaying genuine emotions. This movies is more than just about a man after prison, picking up the pieces with some slapstick moments. It's about a man who is who he is, but also learns to change. Who doesn't care, but learns to care.

Law succeeds in finding a balance between comedy and seriousness. Between drama and satire. In this he creates a character that you can love, like, dislike, hate. But whatever it is, you WILL remember him and feel for him in the end.

As soon as the film started and Dom (Jude Law) begins a near 2 minute long speech proudly stating his admiration for a certain part of his anatomy, there was only one thing running through my mind; This is incredibly similar Tom Hardy's role as Bronson in the 2008 film; a watered down one.

The accent, the pronunciation and overall persona from Dom Hemingway just screams Bronson. If you haven't seen Bronson then you won't be able to associate it as easily and probably will enjoy the character more. I don't bring it up to in any way discourage Jude Law's performance; it is a great portrayal of a banged up Londoner who's out for financial retribution. A role you really can't associate with Jude Law and he does it justice on so many levels. It's not him that's the problem, it's the character. Not just the Bronson comparison, but the constant ranting throughout the film; full of synonyms and thesaurus like tirades. It becomes very repetitive.

There are some really funny moments, but like with the rest of the film the comedy starts to become slightly tedious. It is Dickie (Richard E Grant) who produces a lot of the witty comedy; he is funny throughout.

Still, a fairly good film with some good performances, violence, comedy, and a story of a hopeful father/daughter reconciliation to add to that.

When a film starts with a Shakespearian monologue of several minutes about the qualities of a sexual organ, you know you're in for something special. Hearing Jude Law going on about his penis ('It's a work of art, it should be in the Louvre, it's like a soldier, it can stand up all day') is definitely funny, and makes one admire his acting talent.

In this film, Jude Law is light-years removed from the fine and civilized English gentleman we know from so many of his films. With his Cockney accent, sideburns and streetwise stride, he plays an utterly despicable human being. Dom Hemingway is an egotistic, rude, violent, uncivilized and vulgar criminal. The film starts with his release from jail after twelve years of imprisonment, and shows him in a series of bizarre events, involving colourful characters and outrageous situations.

This could have been enough for a nice film. Hemingway's unsavoury character, and the very colourful way he speaks, are perfect basis ingredients for a hard boiled, no-holds-barred, crime-comedy. Unfortunately, the screenplay writer found it necessary to include a melodramatic side-story, probably intended to show that Hemingway does have a heart, after all. The subplot with his daughter and grandson are an unnecessary attempt to include an emotional dimension in the film. This film doesn't need that. It would have been far better if Hemingway wouldn't have gone soft-hearted over his grandson.

It's an unfortunate flaw for this film, which above all showcases Jude Law's acting talent. His acting is indeed wonderful: Hemingway is completely believable. Law succeeds in creating an outrageous character, without overdoing it. This is an enjoyable film, but nothing more.

The people responsible for this steaming mess of a film should be banned from movie-making for a period of not less than ten years -- especially Jude Law, who is a credible actor but clearly made a lunatic career decision in taking the part of Dom Hemingway. It is hard for me to imagine that anyone would be daft enough to bankroll such a miserable exercise in self-indulgence. The story line is idiotic -- you get the feeling they were making up scenes as they went along. The characters are paper thin. The script is ludicrous -- especially when Law starts chewing up the scenery. I rarely review films on IMDb, but I felt that moviegoers deserved a warning on this one.

A disorienting and ultimately disarming movie about a brutal Cockney ex-con with Jude Law playing a part Bob Hoskins would have played 25 years ago. With slicked back, receding hair and mutton chops, Law acquits himself very convincingly as a profane, poetic thug. Just saw this film at the Toronto International Film Festival and it's very entertaining, edgy and often gripping, with a satisfyingly soft heart, given all the criminality portrayed. Props to Richard E. Grant as his wiser sidekick and the rest of a wholly believable cast, most of whom I don't recognize. Dom is a character akin to the crazed gangster played by Ben Kingsley in Sexy Beast and you can see why Law would relish this part. And he attacks it with relish, bravado and just enough vulnerability to actually make this brute likable. You end up rooting for him due not only to story circumstances, but his basic humanity despite his despicable behaviour. I don't know if real Cockney gangsters would buy Law in the part, but I did. Worth seeing.

Only the Brits Could or Would Write the Most Profane and Gut-Wrenching Scum-Talk and Deliver it like Shakespeare. Of Course You would Need a Good Actor to Try and so here We get Jude Law.

His Performance in this Film is so Over the Top, so Intensely Insane, so Loud and Obnoxious that it is Impossible to Ignore and Dominates the Picture so Profoundly that there is Hardly Anything or Anyone who Registers on the Periphery.

There is Richard Grant as Dom's Sidekick and He Barely Balances the Movie with His Geeky Demeanor and Thoughtful Friendship to this Bull in a China Shop. The Film is Raunchy, Lewd, and Disgusting at Times with Dialog Flourishes Cribbed from Public Toilet Walls and Pornographic Novels.

It May be a Rough Ride for some and Rightfully so, because this is Never Meant to be Anything but Shocking in a Dirty Joke Kind of Way. The Energy from Jude Law Carries the Film and it is Amazing that at Times He Manages to Try and Tear Up the Audience with an Abrupt About Face to His more Tender Side. By Damn He Succeeds.

Overall, this is Not for All Tastes and is Almost Always a Tasteless Tale Peppered with just Enough Pathos and Interest to Make it a Film that has Redeeming Qualities while Making a Movie with Arguably No Redeeming Qualities. It is a Dichotomy that is Difficult to Pull Off.

I watched this movie because Richard E Grant was in the cast. He was the best thing about this movie. Unfortunately everything else was worse than than bad. From a supposed East End crook who appears to have a King Lear complex to various stock criminal elements such as homicidal Russians, West Indians, thieving Romanians and big hearted Cockneys , this is a complete waste of time. The film seems to be an homage to Guy Ritchie but if you want to see how it should be done try Get Carter. I hope that the ending of the film does not leave open the possibility that there might be a sequel. I am not sure whether the director intended the film to be a comedy or a tragedy but the latter seems more appropriate.

for all the critics that bashed this movie just for the sake of bashing it...you all can go and sh*g a Cornish hen. i read a lot of critics reviews and they just wanted to bash the film just for the sake of it. one wrote that Jude Law was lying next to his mothers tombstone and crying...hello...are you even paying attention to the movie, it was his wife who died of cancer while Law was incarcerated! that happen to be a major critic i guess cause it was the first review on the Google page...but at least she did say that it will probably garner Law a nomination come Oscar time and actually a lot of critics out there said the same thing and i totally agree with that at least.

this movie deserves at least a 7 in my opinion and was one of Laws best performances if not the best ever. this is my favorite movie of 2014 so far and i've watched a lot of movies from this year. the movie started of kinda weird the first few minutes with Law going off on a monologue about his pecker and i went huh. but from there the movie just got better and better and i didn't want the movie to end.

this movie had everything...it was funny, violent, touching, rousing and sad at the same time. i feel that Law has never been in finer form. Laws side-kick in this movie was very good also and almost stole every scene that he was in. the movie was very well paced and never felt slow or rushed in any way. i actually know people like this and that is why i can relate with this movie. Laws character on the surface seems like scum but underneath that exterior he does have a human side and you can't help but root for Dom Hemingway wholeheartedly.

all in all a very well put together crime dramedy with a great script and a lot of great lines in the movie. i really hope Law gets a Oscar nomination because it feels like he put his all into this movie and it shows.

JUDE LAW ROCKS!!!!!

This is a watered down "Broson" except it just isn't as raw or good as "Broson". It's more stylish and I could tell at the beginning Jude Law was trying to do his best Broson impression. But it's nowhere near as convincing or powerful as Tom Hardy. Dom Hemingway (Jude Law) isn't as cool or likable as Broson, but despite his super narcissistic and selfish actions he does have a conscience and a code he stands by. I don't know, but there is just something about men with certain codes that makes them stand out. This movie however although not all that satisfying does a good job of building up the character Dom Hemingway to the point of getting the audiences to sympathize with him. I did also like the erratic direction of it all, I expected the movie to go in a certain direction but it goes in another completely different one. Overall this is a watchable flick, just not really a satisfying one.

6.3/10

Jude Law is clearly having a blast playing the titular character Dom Hemingway. And as an audience you are enjoying the fun he has every bit of the way. His razor sharp cursing and brilliant facial expressions are the highlights of the film. But in terms of a coherent and interesting story, Dom Hemingway falls short. It feels more like the scriptwriter envisioned a great character and some great scenes and did his best to somehow stitch them together.

We've seen Jude Law in movies like The Holiday, Alfie and Side Effects but never before has he been as great as he is in Dom Hemingway. Here he plays the egotistical British gangster with a dangerous temper who thinks he's indestructible. Within the first 10 minutes we hear Dom describe his penis at great length, get released from prison and brutally beat a guy up for being with his wife while he was in jail. Within that short amount of time we know what we're in for and Dom's adventure only gets more outrageous from there. He's boisterous, vulgar and over the top but there's just something so engaging about his character. Dom is a safecracker who winds up doing a 12 year stint in prison for taking the fall and not ratting out his boss. When he gets out, he meets up with his dedicated best friend Dickie (Richard E. Grant) who plays perfectly off of the raucous Dom. They travel to the south of France to visit crime boss Mr. Fontaine (Demian Bichir) so that Dom can collect his reward for keeping his mouth shut. Once he's there, the drinking and partying begins but after a hapless accident he's left with nothing. It's then we find out that the one sweet spot Dom has is for his estranged daughter (Emilia Clarke) who he hasn't talked to since he went to prison. The movie is broken up with title cards as we follow Dom's path to recovery and self-discovery and we see a softer side to him as he tries to repair his relationship with his daughter. The more compassionate side of Dom is a welcomed surprise from the wild and belligerent one we got to know in the beginning of the film and we see he really regrets having left his daughter behind while he was in prison. Writer and Director Richard Shepard has created a livewire of a character in Dom and has him spitting out countless noteworthy lines like his response when Mr. Fontaine asks him if he hunts; "I only use a gun to hold up a place, or threaten someone or rob'em or pistol whip 'em or scare 'em but no, no hunting." This is Shepard's third feature film; his first is the outstanding, The Matador and his second, the criminally underrated, The Hunting Party. Shepard has a great knack for writing insane, over the top characters with a heart and has a great eye for the camera, creating an original visual style that breathes new life into whatever genre he is tackling. The real standout here is Law; he is a force to be reckoned with and a real firecracker as Dom Hemingway and brings Dom to life in a way that makes it impossible to picture another actor in the role. He is surrounded by a great supporting cast, Grant, Clarke and Belchir and the writing from Shepard is top notch, creating a wildly disparate character with his trademark witty dialogue. This is one hilarious, rollicking good time and I undeniably enjoyed spending 90 minutes with Dom Hemingway.

Opening with what can only be described as one of the worst opening monologues of all time (I wont go into details but lets say it might be worth the price of rental alone to just witness it's cringe worthy quality's) you get the feeling that the only way is up for Richard Shepard's try hard crime/comedy but sadly things start low and never once peer above the low set standard which is a shame considering its leading man was obviously dedicated to the role.

Looking like we have never seen him before Jude Law is an overweight, bearded and yellow toothed hooligan who possesses not an ounce of a redeeming feature. Law is clearly relishing his time being let loose playing such a profanity spouting lout but his sheer enthusiasm to the role can not transcend the man and the tale the film tells about him to any length of entertainment and the films slight tale becomes unwelcome after a mere 30 or so minutes. Law is ably supported by renowned character actor Richard E. Grant as his left hand man Dickie but Grant also doesn't have an overly redeeming character and if we are asked to get on board with criminals they need to transcend from there evil deeds like Guy Ritchie so successfully did and does in his crime capers but Shepard shows no flair for this genre.

With one memorable scene set on a night set country road Dom Hemingway is devoid of any true originality and seemingly thought that the fact it had such a vile central figure and such seedy dialogue it would resonate with the ever willing audience of such ventures. Dom's plight to get money for his jail time and reconnect to his estranged family is so overly familiar also that it's pretty clear the film is no where near as original or fresh as it feels it is. As a crime caper its virtually non-existent and as a comedy it's seriously lacking in proper laughs therefore making the whole exercise a venture into meaninglessness.

Jude Law fans may want to endure this journey for what is arguable one of his more out there and committed performances but even Law's ability to go to great lengths to inhabit this man is not worth the pain of 90 minutes worth of unlikable and uninteresting plot with a bunch of people who your pretty glad to say goodbye to. If your looking for similar and much better British criminal fair dust off Snatch and enjoy.

1 and a half red haired singing Daenerys out of 5

I am not Jude Law's biggest fan. His best Gangster style film to date IMHO has been Love, Honor & Obey which was immensely entertaining. So I took a long shot at watching this with minimum expectation. How wrong was I. Both Jude Law & Richard E Grant were brilliant. The start was a little "what the hell is going on" until the film kicked into gear & I was blown away by it. It has some very good comedy elements without trying to be funny & some scenes that just stole the movie. As for Dom the character he just reminded me of a few Londoners that I know. A very good movie with nothing original in terms of script or story but both Jude & Richard made good with what little they had to work with.

Dom Hemingway reminded me a lot of films I've seen(ie, filth) and even the narrative structure is sort of familiar. But although the film can hardly be a original mind-blower, it does teem with hilarious conversation and thanks to Law's hard work. This film is not bad. I've noticed a pattern here for those superficially unconventional movies ranked R only because of good old blasphemy and nudity rather a deeper and darker theme but main audience are adults e who are in seek of fun thus essentially a mainstream ones like Dom Hemingway. The lead role are often casted by pretty faced actors so they can be "overweight and under-shaved but still don't give a toss", and are extremely narcissist about themselves, strutting around in three-pieces that soaked in whiskey and fags, annoyingly loquacious and mutter their tirade with visible spit. But as the storyline unfolds you'll see their own fatal flaws and troubled mentality etc,etc,otherwise wheres the fun. And after a sequence of hustle with hilarious dialogue and witticism and probably some grotesque and unearthly events and probably some nudity toppings, they lead role endured some sort of epiphany and end. The trendy thing to do is probably to comicalize, makes normal conversation comical with ticker-tape laughter-provoking verbiage, dramatize the drugs and parties and coincidence.

Im not trying to do a smartass parody here, I still think Jude Law had really tried to deliver a vivid Dom Hemingway, thrusting outta jail after 12 years for his foreseeable fortune and imperative retribution and long overdue daughter. And I did enjoy some of the funny moments(i.e.where are you going, to find dry cloth, where are you going, to find my bloody money) But derivatives' artistic value is always inferior to the original and iconoclastic ones, this film simply cannot be remember for long despite his exuberant color and sharp fast pace. Making a breakthrough requires more than gaining an extra 20 pound or mild hardcore content for an increasingly insatiable and fastidious audience.