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Directed by | |||
| Guy Ritchie | |||
Writing credits | ||
| Guy Ritchie | (written by) | |
Original Music by | |||
| John Murphy | |||
Cinematography by | |||
| Tim Maurice-Jones | (director of photography) | ||
Film Editing by | |||
| Jon Harris | |||
Casting by | |||
| Lucinda Syson | |||
Production Design by | |||
| Hugo Luczyc-Wyhowski | |||
Art Direction by | |||
| Julie Philpott | |||
Set Decoration by | |||
| Linda Wilson | |||
Costume Design by | |||
| Verity Hawkes | |||
Makeup Department | |||
| Jean Ann Black | .... | makeup artist: Mr Pitt (as Jean Black) | |
| Fae Hammond | .... | chief hair stylist | |
| Fae Hammond | .... | chief makeup artist | |
| Fae Hammond | .... | chief tattoos | |
| Belinda Parish | .... | hair stylist (as Belinda Parrish) | |
| Belinda Parish | .... | makeup artist (as Belinda Parrish) | |
| Pebbles | .... | key hair stylist | |
| Pebbles | .... | key makeup artist | |
| Pebbles | .... | key tattoos | |
Production Management | |||
| Adam Bohling | .... | production manager | |
| Ashton Radcliffe | .... | location unit manager | |
Second Unit Director or Assistant Director | |||
| David Reid | .... | first assistant director | |
| Daniel Toland | .... | second assistant director (as Dan Toland) | |
| Mick Ward | .... | third assistant director | |
| Tom Delmar | .... | action unit director (uncredited) | |
| Tom Rye | .... | third assistant director (uncredited) | |
| Mick Ward | .... | second unit director (uncredited) | |
Art Department | |||
| Peter Burden | .... | dressing props | |
| Will Cann | .... | stand-by props | |
| Graham Cole | .... | stand-by carpenter | |
| Chris Cutler | .... | dressing props | |
| Sandra Fattorre | .... | art department production assistant | |
| Martin Foley | .... | assistant art director | |
| Gerry Higgins | .... | stand-by rigger | |
| Verena Kahn | .... | assistant art director (as Verena Khan) | |
| Thomas Martin | .... | carpenter | |
| Campbell Mitchell | .... | stand-by props | |
| Tom Pleydell-Pearce | .... | property master | |
| John Roberts | .... | supervising painter | |
| Tom Roberts | .... | stand-by painter (as Tommy Roberts) | |
| David Smith | .... | stagehand | |
| Philip Smith | .... | supervising carpenter (as Phillip Smith) | |
| Dennis Wilson | .... | construction coordinator (as Denis Wilson) | |
Sound Department | |||
| Matthew Collinge | .... | sound designer | |
| Matthew Collinge | .... | sound effects editor | |
| Mike Dowson | .... | sound re-recording mixer | |
| Arthur Fenn | .... | boom operator (as Arthur Turner) | |
| Diane Greaves | .... | foley artist (as Dianne Greaves) | |
| James Harris | .... | cableman | |
| Simon Hayes | .... | sound mixer | |
| Robin Johnson | .... | cableman | |
| Michael Redfern | .... | foley editor | |
| Danny Sheehan | .... | dialogue editor | |
| Jason Swanscott | .... | foley artist | |
| Mark Taylor | .... | sound re-recording mixer | |
| Darren McQuade | .... | adr mixer (uncredited) | |
Special Effects by | |||
| Casper Lailey | .... | special effects technician (as Caspar Lailey) | |
| Ken Lailey | .... | special effects supervisor | |
| Alastair Vardy | .... | special effects technician (uncredited) | |
| Gareth Wingrove | .... | special effects technician (uncredited) | |
Visual Effects by | |||
| Paul Conway | .... | compositing artist: The Moving Picture Company | |
| Gavin Digby | .... | compositing artist: The Moving Picture Company | |
| Michael Elson | .... | digital effects producer: The Moving Picture Company | |
| Kristin Emblem | .... | digital effects producer: The Moving Picture Company | |
| Ed Hawkins | .... | compositing artist: The Moving Picture Company | |
| Gregory Salter | .... | compositing artist: The Moving Picture Company | |
| Jean-Clement Soret | .... | digital colourist: The Moving Picture Company | |
| Mark Stannard | .... | compositing artist: The Moving Picture Company | |
| Jelena Stojanovic | .... | compositing artist: The Moving Picture Company | |
| Tom Wood | .... | compositing artist: The Moving Picture Company | |
| Michael Elson | .... | head of production: The Moving Picture Company (uncredited) | |
| Willi Geiger | .... | research and development (uncredited) | |
| Alasdair MacCuish | .... | senior data-op: The Moving Picture Company (uncredited) | |
| Daniel Walton | .... | digital artist (uncredited) | |
Stunts | |||
| Tom Delmar | .... | stunt coordinator (as Tom Delmar-McCormick) | |
| Tom Delmar | .... | fight director (uncredited) | |
| Charles Jarman | .... | stunt double: Robbie Gee (uncredited) | |
Camera and Electrical Department | |||
| Ray Bateman | .... | electrician | |
| Frank Cox | .... | electrician | |
| Andy Duncan | .... | chief lighting technician | |
| Stuart Graham | .... | focus puller | |
| Elizabeth Hoar | .... | camera trainee | |
| Jake Marcuson | .... | clapper loader (as Jake Marcusson) | |
| Richard Oxley | .... | assistant chief lighting technician | |
| Sebastian Pearson | .... | still photographer | |
| Chris Polden | .... | electrician | |
| Peter Wignall | .... | Steadicam operator: "a" camera | |
| Peter Wignall | .... | camera operator | |
| Terry Williams | .... | key grip | |
| Sam Barnes | .... | focus puller: second unit (uncredited) | |
| Stuart Howell | .... | additional Steadicam operator (uncredited) | |
| Jon Mitchell | .... | daily clapper loader (uncredited) | |
Casting Department | |||
| Vanessa Baker | .... | adr voice casting | |
| Emma Engers | .... | casting assistant | |
Costume and Wardrobe Department | |||
| Melina Fragkia | .... | wardrobe | |
| Sharon Gilham | .... | costume supervisor | |
| Caroline McCall | .... | wardrobe | |
| Nicki Varney | .... | costume assistant (as Nicky Varney) | |
Editorial Department | |||
| Jatinderpal Chohan | .... | post-production | |
| Peter Dansie | .... | assistant editor | |
| Les Healey | .... | co-editor | |
| David Rees | .... | color timer | |
| Paul Swinburne | .... | first assistant editor | |
Music Department | |||
| Matt Biffa | .... | music researcher | |
| Karen Elliott | .... | music researcher | |
| Daniel L. Griffiths | .... | score engineer (as Daniel L Griffiths) | |
| Daniel L. Griffiths | .... | score mixer (as Daniel L Griffiths) | |
| Ged Lynch | .... | music contractor | |
| Ian Neil | .... | music consultant | |
| Danny Sheehan | .... | music editor | |
| Patricia Joseph | .... | soundtrack producer (uncredited) | |
Transportation Department | |||
| Simon Barker | .... | transportation captain | |
| Fergus Cotter | .... | driver | |
| Colin Giffin | .... | driver | |
| Melvin Kiernan | .... | driver | |
| Steve Rogers | .... | driver | |
| Mark White | .... | transportation | |
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Read this review carefully, please.
First off, Snatch is an amazing movie in every sense of the word. There are very few movies made where the director obviously did not let one FRAME onto the screen without a reason, and Snatch is one of them. Nothing happens onscreen without it having an effect on the plot.
By now you know the plot, or plots. We follow a diamond-heist and the various characters trying to get theirs, at the same time following participants in an illegal boxing ring. The incredible part of the movie is how every scene ties in with the rest somehow, every character connects with the rest at least once.
There are complaints that the movie is confusing, or muddled. There are a lot of things that they don't tell you (such as what the dog has to do with anything, but he's a VERY important character), and that's a good thing. Too many movies force feed the audience its plot points (Think The Ring vs. Ringu, did we need the "How long could you survive down there all alone?" line?). Rather, we just watch occurrences, and have to piece together what ties everything together, the plot weaves together beautifully.
The cinematography and performances are fantastic as well. Even the soundtrack is perfect. The camera style during the fight scenes (slowdown/stop/go) makes it difficult to stop watching, the sound effects fit in quietly in the background without being overwhelming. And it will be IMPOSSIBLE to watch this movie without repeating many of the lines around your friends. I found myself saying "Zee Germans" and things like "It's not like he's a set of car keys, now is it?" quite a bit. Naturally, Brad Pitt's pikey is one of the most outlandish I've ever seen.
Summary: watch the movie, and don't expect to be TOLD everything, expect to have to pay attention.