Seule la mort peut m'arrêter

First the locations. This is London as it has not been seen since The Long Good Friday, Brixton; Holland Park near where I live. The camera loves these locations at night, a London where only the bad guys come out. The beach at the beginning and the end of the film is Newport Sands in Pembrokeshire where I spent many childhood holidays. There is even a shot of Fishguard with the Royal Oak pub in the background.

A plot that is deceptively simple, but is it. Does the Clive Owen character really want revenge or is he out of all that now? He doesn't know and he certainly isn't going to tell the audience, we have to do the work and think, something many cinemagoers do not like doing these days. His ambivelence is shown when he goes to kill Malcolm McDowall (in his best role since Gangster No.1.).

The acting is superb and realistic especially Ken Stott as the rival gang leader who can't tell his left from right. The dialogue is often elliptical leaving us to fill in the gaps, a bit like real life. Owen fills the screen, even when not speaking, he is the smouldering heart of the film with only Charlotte Rampling his equal when both are in shot.

And thank goodness no tidy endings. I am sure this will go down well in the states who had to show us how good Croupier was. I think its on in about five cinemas in the UK.

I have read through about 20 of the users comments after watching this movie earlier tonight on DVD. Most viewers seem to be rather disappointed with this film mainly because they had expectations of the film based on genre, director's and actors' previous work both of which I have seen very little before. The film had my attention from the beginning till the end and I found it very thought provoking.

Will was a gangster who had turned away from crime after a break down (indication of severe depression?). Sometimes when people get overloaded with negative emotions like guilt they can turn into the total opposite of who they once were. As Will mentioned himself : grief about a wasted life. I think this indicates guilt. He coped by turning his back to the world he knew, but also the person he loved most, his brother Davey whom he therefore was not able to help move away from the crime life.Imagine his anger but also the guilt he must have experienced to find his brother raped and having taking his own life! Another wasted life! He could have done something about that but HAD NOT because he ran away from life. In the interactions with former associates and ex-girl friend Helen he established who he had become. Also showing them that they played no role in his life anymore, emotional or otherwise. For his brother who was still important to him he was not able to do anything anymore (and unable via police) except to come up for him by discovering the reason for his death and revenging it. The only way to do that was to take on his former identity again, because the new Will could not do that. Imagine the horror that his brother was hated for behaving the way he himself had before his departure. (Of course this is never a valid reason to rape someone! Rape is hideous crime!) Charming, but cocksure and arrogant!! For Davey Will had always been his role model!!! Davey never got to know the new (more real?) Will. Instead he had lived like Will basing his self-esteem on Will's former reputation as well. Fancy the pain of discovering that! By shooting Boad he kills himself; by intensifying the guilt which had taken over his life. This was exactly as Helen predicted when she said that he was not getting out of it because he wanted to die himself! Nor Clive Owen or Charlotte Rampling acted stiffly out of incompetence, but merely because it was required for their roles of people who had died emotionally a long time ago already! I have greatly enjoyed this movie. It made me think deeply about emotions, motivations an behavior. The above is my interpretation of these, (which doesn't mean I am right).

This is a great movie laden with enigmatic style. A modern, gritty film noir with a powerful and restrained performance by Clive Owen. Compared to other contemporary gangster movies, this one does without cheap action and unmotivated aspects of humor. This is a film taking itself and its moviegoers seriously. The pace and rhythm of the movie and great cinematography accentuates the underlying and half hidden aspects of the script, Clive Owen's acting really proves here that less is more. This movie is indeed one of the two best crime movies to come out of Britain around the turn of the millennium, the other being, of course, "Sexy Beast". These films both combine great style, magnetic performances from the currently best British actors, compelling story lines and sense of warmth emanating from perfectly cast protagonists; Owen and Winstone, respectively.

This is an old master's film, in which an aged director goes back to revisit the kind of story he excelled at when young, with dubious results. A more satisfying example of this kind of nostalgia would be John Frankenheimer's "Ronin," and if you had trouble with that one, you'll hate this one.

What Mike Hodges gives us here is a great wind-up and no pitch. London at night, endless shots of almost-human cars under the street lamps, a threatening bunch of thugs who never really thump each other, it all adds up to considerably less than a whole film.

Much has been made in these reviews about the film's ambiguity. I disagree. All the characters, and I mean all, are painfully aware and articulate about their motivations. Gloomy predictions are made about inevitable conflicts that never materialize, action is either cut short or cut away from. The whole thing is like a Michael Mann thriller with all the thrills scrupulously removed. Or perhaps Hodges is trying to reclaim the genre from Guy Ritchie's jokiness.

The script for this film must really have looked threadbare on the page. The dialog is obvious and arthritic. What works is the acting, the cinematography and the director's depressed atmospherics. Clive Owen demonstrates his considerable presence in a part that is intended to be a deliberate let-down. Charlotte Rampling is fascinating as always, more so than her lines. The rest of the cast ranges from good down to OK.

But in his determination to avoid clichés, the director has also managed to avoid incident, pace and interest. So a nice wind-up, but no pitch, no runs, no hits, and some calculated, deliberate errors.

After the suicide of the small time drug dealer and thief Davey (Jonathan Rhys Meyers), his brother and former powerful gangster Will Graham (Clive Owen), who is living a peaceful recluse life trying to redeem himself from his past, returns to his homeland to investigate the motives for such desperate act. Will hires an independent autopsy and the coroner informs that Davey had been raped the night before his death. Will returns to his past life seeking for revenge.

"I'll Sleep When I'm Dead" is a deceptive thriller with an absolute absence of originality. In spite of having a great cast leaded by Clive Owen, Charlotte Rampling, Jonathan Rhys Meyers and Malcolm McDowell, and a beautiful and stylish cinematography, the screenplay is very weak and confused, with a storyline similar to many other better movies. The characters are badly developed, and who they are and their motives are disclosed in a confused way. Further, the motives of Boad for the stupidity against Davey are unbelievably ridiculous. My vote is six.

Title (Brazil):" Vingança Final" ("Final Revenge")