Review: Guy Ritchie's `Revolver'

Jason Statham

If a spoiler alert is needed for a panel of real-life psychiatrists, consider yourself forewarned.

That's how Guy Ritchie's "Revolver" ends: with a series of brief clips of psychiatrists explaining the difference between the id and ego. Not exactly the Death Star exploding, is it?

Our experts have nothing directly to do with the plot, but they're there to help explain the mess of a movie that has preceded them. "Revolver" is a hard-boiled crime flick with its mayhem aimed at the inner workings of the mind.

It's filled with constant inner monologues, Machiavelli quotes and enough chess theory to make Bobby Fischer blush. All of this makes up the subtext to "Revolver," which is otherwise the usual style-over-substance theatrics of Richie, whose films include "Lock, Stock and Two Smoking Barrels" and "Snatch" but who is best known as Mr. Material Girl.

Jake Green (Jason Statham) is a con man who has been released from prison after seven years of solitary confinement. Somehow during this period, through some kind of prison-wall osmosis, he's been schooled by his jailed neighbors on the art of war, deception and chess.

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Review: Emotion Deficient In Cholera

Giovanna Mezzogiorno, left, and Benjamin Bratt

A lot of the great delight of reading an writer like Gabriel Garcia Marquez is the truth that you're reading him that you're granting yourself to turn absorbed in his flamboyant phraseology and bright descriptions, that he's taking you to a amply realized lieu, and that you're knuckling under, gladly.

When a author phonation is as distinguishing as the Colombian Nobel Prize winner's, it's hard to duplicate it on-screen, even though director Mike Newell and screenwriter Ronald Harwood remain for the most part loyal to "Love in the Time of Cholera" in their wildly blemished version of Garcia Marquez' brooming 1985 novel about a decades-old loving fixation.

Harwood won an Academy Award for his version of "The Pianist"; here, he conserves much of the master copy dialogue, but the signification and emotion behind it is often oddly deficient. So when the graceful Dr. Juvenal Urbino (Benjamin Bratt) guarantees his pure bride (Giovanna Mezzogiorno) on their honeymoon, "This is going to be a example in love," a line that might have looked palatable on the page clangs on the ear alternatively.

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