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89Snatch is nothing if not watchable: It has the insane, popcorn rhythms of a Road Runner cartoon, and for that reason alone it's a minor masterpiece.
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80Ritchie's got something all his own: a go-for-broke energy that cuts through the cliches of the crime genre.
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75The abundance of visual and verbal wit here ensures that the pleasure of watching Snatch need not be guilty.
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75Snatch is admittedly superficial, if not downright disposable. More importantly, though, the movie is also fantastic, cheeky fun.
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75Although the jokes aren't as consistently funny as those in "Lock, Stock," once again writer-director Ritchie demonstrates a deeply pleasurable combination of verbal flair and visual wit while conveying the genuine, intimidating hardness of the English working class and its love of language.
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75All about macho my-weapon-is-bigger-than-your-weapon posturing and far-fetched coincidences that slam together in an entertaining rush.
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75Another whirling crime caper that leaves you shocked and chuckling at the same time.
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75The convoluted story is an excuse for comical tricks of the camera, fractures of chronology, acid punch lines and amusingly excessive performances. (In this latter category, Pitt, so deep into his character that you can smell him, wins the day gloriously.)
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70It's possible that Ritchie's most important asset is the comic constant within his characters' existential dilemmas. To a man (and, indeed, they're all men), Ritchie's anti-heroes are at odds, in either large or small ways, with their own natures.
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70Even if it's not quite as lighter than air as its predecessor, Snatch remains a lethal diversion.
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70O.K., Ritchie mistakes flash for style. Perhaps that's the price you pay for storytelling exuberance. If he keeps making films as down and witty as Snatch, we may learn to forgive him.
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70Although the plot is crucial, it's the interaction among characters that makes Snatch percolate. Ritchie knows when to stop and smell the comedy.
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68Though far from a sophomore slump, Snatch, like "Smoking Barrels," is such a grab bag of other influences that it's tough to figure out what, if anything, about Ritchie's style is uniquely his own.
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67Belongs to that distinctly '90s genre of sadistic crime comedy whose time has clearly come and gone.
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63If the film is too similar to Ritchie's first movie, "Lock, Stock and Two Smoking Barrels" with its multiple story lines, complex plotting, and double-crossing antics, it's at least colorfully told with dialogue that shines with the inventive slang of Ritchie's screenplay.
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63The movie was snatched, all right, and Ritchie is the culprit.
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63Since the main reason I go to movies is to engage with characters, I prefer "The Pledge," the film opening today by Madonna's first husband, Sean Penn, rather than this stylish fluff by her second spouse.
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60It all feels rather laddish and belabored, but it will eat up 90 minutes of your time without making you regret the loss.
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60Those who haven’t seen “Lock, Stock” will probably get a bigger kick out of Snatch than those who have. The second time around, what seemed spontaneous can sometimes feel strained.
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60Mr. Ritchie is back with more of the same in his second feature, a comedy called "Snatch" that's a sort of lethal pinball machine in which even more picturesque characters bounce from pillage to post.
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50Follows the "Lock, Stock" formula so slavishly it could be like a new arrangement of the same song.
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50There's talent here, but for directing, not writing. If Ritchie wants to last, he's going to have to allow somebody else to write his screenplays.
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50More isn't always better; everything feels slightly forced, and the funny bits -- make no mistake, there are several -- are all but lost in the noise.
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50Guy Ritchie's second feature, is a faux tough caper modeled lock, stock, kit, and caboodle on his earlier film ''Lock, Stock and Two Smoking Barrels.''
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50Mr. Ritchie seems to be stepping backward when he should be moving ahead.
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40The problem with all this don't-blink-or-you'll-miss-it dramaturgy is that ultimately everything is sacrificed for effect. When you're dealing, as Ritchie is, with explosions of real violence and viciousness, the hyperslick technique can't accommodate the real pain that comes with the territory, or ought to. What we're left with is a cackling amorality -- not a philosophy of life, just a posture.
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38One could argue that ''Lock, Stock'' and Snatch are essentially the same movie - crime comedies marked by an outlandish visual style. Which raises the question of whether Ritchie has the range to do anything else.
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30Emits the embarrassing aura of a filmmaker desperate to be considered cool, yet utterly inept at finding original ways to reach that status.
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30Ritchie may be skilled at generating controlled chaos, but his surprise-a-minute strategy ultimately holds no surprises; Snatch is even more frenetically boring than his 1999 "Lock, Stock and Two Smoking Barrels."
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20It takes a very clever schoolboy to make a movie as elaborately empty as Guy Ritchie's Snatch.
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20For those who care, Madonna has found her match in Guy Ritchie, whose absence of talent when it comes to the film medium is equal to her own.
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User score distribution:
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Positive: 58 out of 65
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Mixed: 5 out of 65
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Negative: 2 out of 65
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NickR.10My all-time favorite film. Amazing in every area.
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5That awkward moment when you realise, that this movie was planned to be so much better. Average 5 from me.