| The most amazing thing about Guy Ritchie's 2005 | | | | resolution starts to feel awkward. There are |
| release "Revolver" is the end credits, and I mean | | | | increasing internal monologues and seemingly |
| that as a compliment. | | | | uncharacteristic outbursts of charity, and even |
| "Revolver" is enigmatic for an action picture. When | | | | non-violence. |
| the end credits roll, not everyone will "get it." It | | | | This is not a BAD thing. It essential to the |
| seems to almost make sense, but not quite. | | | | premise of what "Revolver" is really about. The |
| Maybe that's why Guy Ritchie made the unusually | | | | real villain to be conquered is the "ego," and those |
| brilliant decision to interview some real-life doctors | | | | who do not conquer it can only self-destruct. |
| of psychology and edit their comments into an | | | | Keen viewers may figure out this symbolism |
| explanatory montage played over the closing | | | | before it's over. If not, Ritchie pulls back the |
| credits. | | | | curtain during the end credits and basically spells it |
| What are they discussing? | | | | out. Speaking as one who DIDN'T "get it," this |
| The human "ego," which is exactly the lynch-pin | | | | made me appreciate the film immeasurably more. |
| that "Revolver" hinges upon. The whole thing is | | | | It was cool to see some secondary interpretation |
| about the human ego manifesting itself-- feeding | | | | of the film's art without having to sift through |
| the image of one's self worth with respect, or | | | | DVD extras. |
| money, or fear. | | | | "Revolver's" psycho-analytic underpinning will not |
| These desires drive the main characters through | | | | find favor with everyone however. Roger Ebert's |
| the story. Jason Statham (from both Guy | | | | half-star review is particularly venomous. But give |
| Ritchie's "Snatch" and "Lock, Stock And Two | | | | "Revolver" half a chance and it's unique structure |
| Smoking Barrels") stars as an ex-con with a | | | | may win you over. |
| grudge. He's out to make a fool of Ray Liotta, | | | | "Revolver" takes a big gamble, and the pay-off is |
| the crime boss who sent him to jail in the first | | | | this: A slightly-below-average picture becomes |
| place. Along the way, Ritchie fills the film with | | | | slightly-above average if you buy into it. And I |
| typical action fare-- plenty of drugs, guns, and | | | | did... |
| shoot outs. | | | | ...But not until the end credits. |
| But as "Revolver" draws to a close, the plot | | | | |