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Guy Ritchie’s The Gentlemen is on Demand, 4K, Blu-ray, and DVD in April

The Gentlemen

Get lit in the stylish ensemble caper, The Gentlemen, a star-studded, sophisticated action-comedy written and directed by Guy Ritchie (Sherlock HolmesSnatch). This engaging and unpredictable film is available now on Digital, lighting up on On Demand April 14, 2020 and on 4K Ultra HD, Blu-ray and DVD on April 21, 2020, from STXfilms and Universal Pictures Home Entertainment. Set in the underworld cannabis industry in London, Ritchie makes a grand return to his signature, kinetic style, enthralling and surprising audiences with every scene, made even more dynamic by the performances of its star-powered ensemble cast. The home release includes exclusive bonus content bringing audiences deeper into the provocative world of the film.

The Gentlemen follows American expat Mickey Pearson (Matthew McConaughey, Dallas Buyers Club), who built a highly profitable marijuana empire in London. When word gets out that he’s looking to cash out of the business forever, it triggers plots, schemes, bribery and blackmail in an attempt to steal his lucrative domain out from under him.

Featuring an all-star cast, The Gentlemen stars Oscar winner McConaughey, alongside Charlie Hunnam (Pacific Rim, “Sons of Anarchy”), Golden Globe® nominee Michelle Dockery (Downton Abbey, “Good Behavior”), Golden Globe® winner Colin Farrell (The Lobster, In Bruges), Henry Golding (A Simple Favor, Crazy Rich Asians), Golden Globe winner Hugh Grant (The Man From U.N.C.L.E., Love Actually), Jeremy Strong (“Succession,” Molly’s Game) and Eddie Marsan (Fast & Furious Presents: Hobbs & ShawAtomic Blonde).

BONUS FEATURES EXCLUSIVE TO 4K ULTRA HD, BLU-RAY™️, DVD & DIGITAL:

  • Behind-the-Scenes of THE GENTLEMEN – Get up close with the talented cast of THE GENTLEMEN as they give an inside look at the making of the film and share their experiences working with legendary director Guy Ritchie.
  • Best Gentlemanly Quips – A selection of some of the funniest lines from THE GENTLEMEN that spotlights the witty writing behind the film.
  • Glossary of Cannabis – Viewers are given a fun educational montage highlighting the numerous nicknames of Marijuana shown throughout the film.
  • Photo Gallery

The Gentlemen will be available on 4K Ultra HD in a combo pack which includes 4K Ultra HD Blu-ray™️ , Blu-ray™️  and Digital. The 4K Ultra HD will include all bonus features on the Blu-ray™️ disc.

  • 4K Ultra HD is the ultimate movie watching experience. 4K Ultra HD features the combination of 4K resolution for four times sharper picture than HD, the color brilliance of High Dynamic Range (HDR) with immersive audio delivering a multidimensional sound experience.
  • Blu-ray™️ unleashes the power of your HDTV and is the best way to watch movies at home, featuring 6X the picture resolution of DVD, exclusive extras and theater-quality surround sound.
  • Digital lets fans watch movies anywhere on their favorite devices. Users can instantly stream or download.

It’s Bad Boys for Life Three Weeks in a Row

Bad Boys for Life

Bad Boys for Life topped the weekend box office for the third weekend in a row. The film earned an estimated $17.7 million putting it near $150 million domestically after three weeks. Internationally, the film added an estimated $30.8 million to bring that total to $142.7 million. That’s a franchise-best of $290.8 million besting the second film’s $273.3 million worldwide in 2003.

1917 came in second place adding $9.7 million to its domestic total to bring that to $119.2 million. The film will likely do well at the upcoming Oscars where it’ll receive a nice boost. Internationally, the film added $20.9 million from 61 markets to bring that total to $129.8 million.

In third place was Dolittle which added $7.7 million. It also added $17.7 million from 63 markets internationally. The movie’s $55.2 million domestic total and $71.4 million for a worldwide $126.6 million after three weeks normally would be good but with a budget of $175 million, the film will have to fight to get there.

Gretel & Hansel debuted in fourth place with an estimated $6.1 million. The film received a “C-” CinemaScore and 20% on RottenTomatoes, so don’t expect it to light any fires over the next few weeks. The audience was 53% female and the audience was 73% aged less than 35 years old.

Fifth place may change when final counts are in. The Gentlemen earned an estimated $6.01 million while Jumanji: The Next Level earned an estimated $6 million.

We’ll be taking a deeper dive into this year’s comic films in an hour as we await 2020’s first comic adaptation in Birds of Prey which opens this week.

Bad Boys for Life Rides Together in First Again

Bad Boys for Life

Bad Boys for Life took the top spot again at the weekend box office. The film earned an estimated $34 million a drop of 45.6% from opening weekend. The film has earned $120.6 million domestically. the movie is less than $20 million from becoming the highest-grossing domestic film in the franchise. Not surprisingly, a fourth film is in development.

It shows that though folks say they don’t want sequels, they’re happy to go to them and support them. The film earned more than double the second-place movie 1917.

Internationally, the film added 19 markets and earned $42 million to bring the international total to $95 million pushing the worldwide total to over $215 million.

1917 held on to second place earning an estimated $15.8 million, a 28% dip from the previous weekend. Domestically, it has earned $103.8 million. Internationally, it brought in an estimated $23.7 million from 50 markets to bring that total to $96.6 million and $200.5 million worldwide.

Dolittle came in third place with an estimated $12.5 million, a drop of 42.8% from the previous weekend. Lack of films aimed at kids is helping this one. But, it has a long way to go to make back its $175 million production. The domestic earning now stands at $44.7 million. Internationally, the film earned $13.2 million to bring that total to $46.4 million and a worldwide total that now stands at $91.1 million.

The Gentlemen debuted in fourth place with an estimated $11 million. It received a “B+” CinemaScore from the opening day audience. The audience was 60% male with 55% of it aged between 25 and 44. STX was happy with the opening and will be expanding it in theaters next weekend.

Internationally, the film expanded its limited release adding 20 territories where it earned $3.1 million to bring the international total to $22.5 million and worldwide total to $33.5 million.

Jumanji: The Next Level wrapped up the top five with an estimated $7.9 million to bring the domestic total to $283.4 million after 7 weeks. It also added $9.6 million internationally where it has earned $454 million for a worldwide total of $737.4 million.

Out of the top five, Star Wars: The Rise of Skywalker came in at #7 earning an estimated $5.2 million to bring its domestic total to $501.6 million. It’s only the 15th film to cross that total domestically. 2017’s The Last Jedi earned $620.2 million domestically and 2015’s The Force Awakens earned $936.7 million.

No comic films charted on the weekend box office but we’ll have further analysis of 2019’s releases in an hour.

Movie Review: The Gentlemen – Pure Guy Ritchie Fun, Problematic Takes Included

Guy Ritchie's The Gentlemen movie poster

Somehow in the last decade, noted British scumbum auteur Guy Ritchie pivoted from gritty, street-level crime dramas with accents so heavy you need to turn the subtitles on to being one of the most bankable journeymen who brought us the Robert Downey Jr. Sherlock Holmes movies, The Man from U.N.C.L.E. and last year’s Aladdin remake. But with The Gentlemen, he goes back to the same well that brought us Snatch and Rock n Rolla. Ritchie’s fans will be very happy, as you can’t imagine two films more diametrically opposed than this and Aladdin.

Our story centers around American-born Mickey Pearson (Matthew McConaughey) who parlays his Rhodes Scholarship into an empire of dealing marijuana to Britain’s hoi polloi. But as he reaches middle age and considers getting out of the business, selling to fellow American Matthew (Jeremy Strong) but is beset by competition from rival Chinese syndicates, who mostly control the heroin and cocaine trade, led by up and coming lieutenant Dry Eyes (Henry Golding) and also ends up crossing an MMA-training street gang trained by “Coach” (Colin Farrell) who like to post videos of their crimes on Youtube cut into their rap videos. Seriously. It’s very Guy Ritchie.

Perhaps the most Guy Ritchie thing about it is that the entire film is framed as a conversation where glorified paparazzo Fletcher (Hugh Grant) is trying to shake down Ray (Charlie Hunnam), who is Mickey’s majordomo in this weed empire. Fletcher lays out the story of the film as… a spec screenplay– it’s a movie in the movie! How Ritchie and Grant managed to not to die from exhaustion from incessantly winking at the audience will perhaps never be explained. It’s cute, and it would be unforgivable if it wasn’t so fun. Grant continues his recent run of amazing supporting performances and he’s so effortlessly charming as he runs through his schtick– and spends most of the movie flirting with Charlie Hunnam. There’s an ad campaign to be built just around a bearded Hunnam and all the ways Hugh Grant flirts with him. It’s a nice stretch for Ritchie, who also punctuates this a lot of his other trademark moves.

It’s also very Guy Ritchie in the fact that his schtick which may have worked two decades ago now sticks out as, at best, problematic, and, at worst, racist. Yes, Henry Golding is a bad guy– all of these guys are bad guys– and so it’s expected that they’re going to do bad things. But that doesn’t absolve the film of Orientalist tropes that otherize and homogenize people of Asian origin, such as the fact that the Malaysian Golding is referred to over and over as a “Chinaman.” Please, dude– even The Big Lebowski knew that term was inappropriate two decades ago. One of the characters is even named “Phuc.” Get it? It’s so subtle, let me explain it to you the way the film does over and over in the hope that the joke will become funnier. Hint: it doesn’t. And a scene where Coach calls one of his students “a black cunt” and then explains to him that it’s a term of endearment doesn’t remove some of the racial stigmas. Sigh. Double sigh for the weird anti-Semitic tropes and gay stereotypes layered on Jeremy Strong’s character.

But we don’t come to Guy Ritchie expecting him to be politically correct. He is what he is, and these are the films that he makes. I firmly believe in the philosophy of judging a movie by what it is and what it’s trying to be rather than what it’s not and never could have been. There’s no way to make Guy Ritchie make a movie that conforms to these expectations, the same way I expect Sam Mendes to make exactly the movie he made with 1917.

What IS unfortunate is that Ritchie walks away from a few concepts in the film that needed to be explored more. He is by no means a feminist, so it’s not surprising that his film doesn’t pass the Bechdel test when. . . *checks notes* no, wait. . . it does? An early scene where Rosalind (Michelle Dockery), Mickey’s wife, pulls up to her personal place of business– an all-female car repair shop that seemingly caters to posh British women with high-end sports cars– gets run over so quickly in order to continue to the main storyline and I just wanted to pause the movie right there and live in it.

Stop drilling– you struck oil. I want more Dockery, more sports cars, now, please. That scene was so vivacious and fun and I want an entire movie about it.

Ultimately, the film is what it is: it’s fun, it’s violent, it’s pure Guy Ritchie. And that means you take the good with the bad. But for anyone who is a fan of Ritchie’s schtick and has wanted the old Guy Ritchie back, you’re in for a treat. All others? Your mileage may vary.

3.75 stars out of 5