Cebalord Very best movie i ever watch

Console best movie i've ever seen.

Fairaher The film makes a home in your brain and the only cure is to see it again.

Calum Hutton It's a good bad... and worth a popcorn matinée. While it's easy to lament what could have been...

Ali Catterall There are a number of things you can rely on in the British film industry: the two most common kinds of movies will be historical dramas (they travel), and comedies featuring stars from UK TV sitcoms (which, with some rare exceptions - Four Weddings And A Funeral, Johnny English and Shaun of the Dead - don't).Since the unprecedented success of Lock, Stock And Two Smoking Barrels, there has been a third burgeoning genre - the London crime caper, often dressed up in sociologists' tweeds (see Kidulthood or the superior Bullet Boy), and whose cast has almost certainly served time in 'Casualty', 'EastEnders' and 'The Bill' (and in Simon Webbe, an ex-member of boy band Blue).Rollin' With The Nines belongs squarely in this latter camp, but mostly dispenses with issues-led subplots in favour of a shoddy gansta caper revolving around coke deals and London's grime music scene. The film actually looks like an extended promo for Dizzee Rascal, who cameos, and does in fact climax with the very same, featuring more mature cast members, like Billy Murray, gyrating apologetically like disco dads.Murray and Stone previously shared screen time in Hell To Pay, Dave Courtney's mind-boggling expose of the contemporary South London gangster scene which Rollin' superficially resembles, and they virtually reprise their roles here, as a drug lord and a bent cop respectively.It's with no small measure of predictability then, that Vas Blackwood and an unhappy-looking Jason Flemyng pop up in Rollin' too - a sop to its Lock, Stock heritage. Even Flemyng's underwritten police chief is just called Captain Flemyng - an unforgivable lack of imagination taking into account the other signposted names on show, like Rage, Karnage, Too Fine and the self-explanatory Temper ("They call me Temper for a reason...").There's a reasonably well-executed chase scene through a forest with police helicopters - quite striking in a UK film - Naomi Taylor is pretty good in her debut big screen role as the vengeful innocent-turned-drug-dealer Hope; and the soundtrack is at least credible. But if Rollin' had half the wit or dynamism of even Guy Ritchie's inaugural movie, it would have been a sight more enjoyable than this lazy, often dismally acted affair, calculated to appeal to 15-year-old schoolboys and Sizzla fans.Ultimately, there's not much difference between this and Summer Holiday. At least, if Cliff Richard and Una Stubbs had had their faces sprayed off by baying yardies.

Jon Mull and all about the black drug scene in London, who knew??? It's low budget, true, and it shows. Gets quite dodgy in parts, but once you make allowance for that this is a nice bit of entertainment, make you wince here and there, but hey,wincing is good. The actress who plays Hope is really quite good.Also nice to see a black story with lot's black cast etc coming out of the UK, make the world aware that them bombocloth Jamaicans got their scene going on under the queens nose.Good body count. The bust up in Carnage's place, gritty and that dump really looked like a dump. Nice use of a non-stick frying pan too!!! The portrayal of the cops is also gritty and interesting. All in all, a good use of 90 mins.I could go for a part two and three if it's this intense. Come on UK, do your stuff. Get a better budget and hit me baby one mo' time.

malcomxmanz Rollin' with the Nines (RWTNs) is a British made independent feature that it being sold on the tag line of being 'the first black British gangsta film', and for this reason alone it makes it highly exciting and an original cinema event. The film starts simply (showing lots of guns being loaded) and by introducing us to the main characters, which are black 'street' hustlers & the rest are white middle-class 'cops'. The film is set in London (many locations are used including Brixton) and tries to show us the current issue of the day that is 'black on black' gun crime and it's truly tragic results. The films set-up is simple: there's a murder, revenge, drugs to be sold for serious cash, car chases, hip-hop soundtrack, serious violence, bent coppers, a love scene & the nicest looking one makes it out alive at the end through all the carnage etc etc. It's way more Hollywood than indie-Brit-flick (which it wants be), more reminiscent of U.S. produced 1980's studio-revenge-action than anything else. What initially appears to set it apart from any previous similar efforts is the fact that it appears to be a black film aimed at a mass cinema going audience: out of the urban into mainstream, kinda thing… The biggest questions open here are what is the connection between black culture, urban society and the rise of street gun crime in the U.K.The film uses 'drugs' as an obvious link to drive the film on its simplistic narrative course of endless extreme violence. Drugs are used (yet again), as a simple plot device, and just the presents of their either powdered-form visual allows complete dictation and authority for all actions and bloody assaults etc. In London, the problems with drugs and gun crime - like this film tries to direct us, are solely linked to those who live in the most deprived 'black' areas – There is no denying that a major problem exists in such areas, but the impression left is that gun/drug crime rarely extends beyond them, and if so is only an export from the inner cities. Even the most basic of research shows that this is very misleading.The first major problem that this film runs into is one of stigma ethics. In recent social-ethical debates it has been made clear that many black 'urban' Londoners feel too greatly over stigmatised and scapegoated by 'gun crime' media publicity (like this film portrays) being so consistent with its strongly enforced 'black-on-black' tag. The quasi-moral code here is: black urban societies regardless, must shoulder some of the guilt for any black related gang/gun crime. This film simply enforces this irresponsible, unresearched theorem for the big screen.At a recent screening of RWTNs, the director appeared next to his fellow cast members to give an after screening Q&A session. Whilst the cast came off as likable and humorous during the Q&A; the director (who is white and seemed very upper class) didn't seem to do himself any favours by speaking with arrogant and pretentious comments, pointing out things like: that due to his 'accent', he was obviously never from an urban society background etc….not very interesting nor inspiring. It should also be noted that many of the numerous 'glowing' reviews written about this film here have been written by either friends/family or those associated with the actual film's production – this has become quite a standard affair with web movie-reviewing, but is still somewhat obvious to most.It is inevitable than that at one point a film like this should appear on our screens, but being black and from Peckham myself, I cannot help feeling that this film, due to a narrative/direction failure, cannot even make it's mind up about being either realist or just a 'movie'. All issues touched briefly in this film are too serious for just a 'movie' version to be created. My guess is that it is not concerned with any real social message or reason, (like the publicity claims) mostly through ignorance – the reality is that this is a Brit indie crime/gangster film that happens to feature black actors in leading roles. The films lacks the rawness and emotion display of Saul Dibb's 2004 film 'Bullet Boy' – there is not one performance in RWTNs that comes close to this level of intelligent direction - and on the whole, the actors (some well known, others new faces) either under perform or poorly act out undeveloped characters. This is always a shame to see - given their professional backgrounds, which made me wonder again about what the director was really doing (setting up the big shoot-outs?) - there really is more to storytelling than just close-ups of guns being endlessly loaded to a blastin' soundtrack…I can't be the only one who feels this way?? The driving role of its tag-line that a third of all British murders will be 'black on black gun crime'- is nothing more than cheap publicity for yet another amateurish debut British feature

maniacfictionfilms I saw Rollin' with the nines in Newham Showcase Cinema on Friday, and I was very pleasantly surprised! The first maybe 20-25 minutes was extremely hard to get into. It was a bit of a barrage on your senses getting thrown into this world at the deep end. However the film changes direction at the half hour mark and goes from strength to strength.The best bit of the whole film was the first raid on the yardies. It was as good if not better then the Hollywood film Narc, which I love. It was really excellent, got the heart racing and was filmed brilliantly. Another nice scene was the tale of the Sawn off 12 gauge, original and clever.Me and my mates who went to see it all agreed Rollin' was best when following the coppers. Weird I know, because after most gangster films it kind of makes you want to be a gangster, but the film shows those characters life's so brutally that after the film it kind of makes you want to a hard arse detective, even though they were 'corrupt' cops! The best performance is from Terry Stone, he has a real screen presence, stealing scenes away from seasoned Brit flick actors like Vas Blackwood and Jason Flemyng.A really brilliant effort for a low budget British film, I hope it gets the cinema time it rightfully deserves, especially when their is rubbish like Scary Movie 4 out there clogging up our theatres! It may start very heavy for the average cinema goer but stick with it, because by the end you don't want it to end.