Al's Lads

"Capone's Boys" follows the same plot as 1983's "Scarface". Immigrants from a foreign country come to America to live out "the American dream" and instead are drawn into organized crime.

The only difference is that "Scarface" was much better than this turkey. The DVD cover shows Capone carrying a tommygun, but there are no blazing machine guns in this movie from what I saw! It just seems to be mostly talk and sex scenes.

This movie should have been much better.

Definitely one of those times you should rent "The Untouchables" instead.

Forget Lock, Stock and Two Smoking Barrels, Al's Lads delivers old-school gangsters with spats and tommy-guns. Okay so it's not got the flair of The Sting and it's not got the set pieces of The Untouchables, but this film's heart is in the right place.

A fish out of water tale, based on real events apparently, three friends from Liverpool get drawn into the shady underworld of Al Capone's Mob in 1927 Chicago.

What transpires is a fresh, but somewhat unrealised perspective on a classic genre. The script gets a little muddled but provides the necessary beats in the end. The sets, lighting, wardrobe and makeup are all solid, as are the majority of the performances, most notably Marc Warren in the lead and Richard Roundtree as his mentor. Sadly, what is lacking is a clear vision. Ultimately, it is the director who should have made more out of the material.

If you're like me with money on hand, bored and in need of entertainment, you will go to your local (corporate) video store to see what's available and if you're like me thinking that you're slick, you would avoid the new releases and head to the vintage "drama, or thriller/action" isles.

I have found this movie in such an isle and it looked promising with Capone holding a Tommy Gun, along with the grainy transfer for the cover,you'd think you've found a very overlooked gem but this is not the case.

In the beginning of this movie, Capone and his henchmen cut's the throat of messenger boy sent from his enemies (the Irish Mob) and after this, you'd think things will continue along this path but it doesn't.

My favorite parts is a Polish butcher pressing his fingers in a slab of meet to give an example on how to pronounce his name, "Sla-vetski", and a dwarf hit-man played by the same guy who played in Willow.

The funny thing is, since this focuses on three friends from England, all the sudden, I'm noticing other actors with an accent and to escape with the loot, the women, and partying like you got over, is very...disappointing and unrealistic.

A travesty of film-making, this movie throws together every conceivable cliche from every film we've ever seen before about boxing, gangsters, romance, and thick but lovable scousers, and what's more compresses them all into such a space of time that its impossible to feel any narrative drive or sense that this is a real movie, rather than a simple mish-mash of individual scenes using acting offcuts from The Full Monty. The film itself looks and sounds good, thus beggaring belief that anyone looking at the script believed it could be turned into a decent product. Its depressing to think that with no film experience whatsoever, I could sit down with the script and a red pen and within an hour excise 30 cliches and 20 plot inconsistencies. Of course, having done that, there'd be 3 minutes of credits left. Its Full of unlikeable, thinly drawn characters we're supposed to root for (wise old boxing trainer, gangster moll, prostitutes with hearts of gold, , hard-but-honest hero who refuses to throw the fight) and Chicago gangsters who've risen to the top but are too stupid to foil a pack of scouse fools). Halfway through, I didn't walk out because I thought the film absolutely had to get better - there was no way it could remain at its abysmal, stinking, chancrous level. It did.

"Al's Lads" is not one of the best films you'll rent, but it's an unpretentious bit of fun that is elevated by the excellent performance of its charismatic lead actor, Marc Warren.

The story is about a trio of Liverpool lads looking to make good in 1920's Chicago when they fall under the auspices of Al Capone. Marc Warren stars as Jimmy, a feisty, but goodhearted boxer. Comic relief is provided by his mates, Danny (Ralf Little) and Eddie (Stephen Lord), who spend most of their time running away from thugs, trading banter and canoodling with baby-voiced prostitutes.

Brilliantly photographed by Nic Knowland, many scenes have a rich, glowing quality that accentuates the wonderfully detailed sets and costumes. The fight scenes, in particular, are beautifully lit. Director Richard Standeven keeps things moving at a fairly energetic pace and most of the actors turn in spirited performances.

Unfortunately, all of this is in service to a very mediocre script by Marc Gee. There's nothing much original here and there's a lot that's cliched, including one nonsensical plot development that occurs only because two characters must be thrown together if the rest of the story is to proceed. At the risk of sounding like a prude, there is way too much use of the "f" word " (the IMDb doesn't like profanity, but you know which one I mean) which seems to be integral to every sentence uttered by every gangster. By the end of the film, it becomes very boring and even distracting, as you begin to ponder exactly how many times the word has been used in the entire script and consider watching the film again just so you can make an accurate tally.

Another flaw lies with Edith, the gangster's moll. She is the least fully realized character in the film and Kirsty Mitchell's wooden performance doesn't help matters. Although she looks gorgeous, Ms. Mitchell delivers her lines in a barely modulated monotone, a far cry from the fiery personality Edith should have. The fact that Edith appears to be nothing more than a beautiful, bored flapper makes it hard to understand why Jimmy is willing to risk his life for her.

The best scenes in the movie occur once Jimmy is placed under the tutelage of grizzled trainer, Boom-Boom, played with appealing world-weariness by Richard Roundtree. The crucial chemistry missing in the romantic storyline lies here, between Warren and Roundtree. Consequently, the relationship between Jimmy and Boom-Boom is the most affecting one in the film, as the characters bond over sit-ups, roadwork and sparring. It's obvious that Marc Warren put his heart and soul into training for the film. He's in extremely good shape and handles the many physical demands of the part with seeming ease.

As an actor, Mr. Warren has always had a feline quality - a sense of controlled power lying in wait behind a graceful stillness - and it serves him well in this film. Whether bursting with raw energy in the convincingly staged fight scenes, sharing a moment of quiet intensity with Roundtree or subtly revealing his character's vulnerable side in romantic scenes, Warren never hits a false note. He is completely mesmerizing onscreen, but has yet to find a film vehicle worthy of his prodigious talents. He should be getting a crack at the kind of parts Jude Law and Ewan McGregor seem to have cornered. Marc Warren is one of the most talented and compelling actors of his generation and I hope a role comes along soon.