(On DVD, February 2017) So; what happens when you start watching a crime thriller and an existentialist drama breaks out? Watch Revolver to find out. The weight of expectations clearly runs against the film: This is a Guy Richie movie! Starring Jason Statham and Ray Liotta! Featuring high-powered criminals! How can it not be another Lock, Stock and Two Smoking Barrel, Snatch or Rock-and-rolla? Well, it turns out that under the trappings of a crime thriller, Revolver wants to be something else. It messes with Kabbalistic symbols, deconstructs the inner psyche of a criminal, plays with components of the self, and, quite visibly, loses track of what it meant to do. Seeing Luc Besson’s name on the script is a warning more than a feature. Richie’s typically dynamic direction here feels disjointed if not actively unbalanced—the unreality of the heavily processed opening sequences eventually lead to the depiction of a mental breakdown as seen from the inside. It’s not pretty, and Revolver is equally remarkable for the way it’s willing to deglamorize strong actors. Statham has unflattering hair and an even worse dramatic arc, while Mark Strong has to contend with equally terrible hair and a surprisingly wimpy character. Self-important and pretentious to a fault, Revolver is an experience more than a film, and the right response at the end is something along the lines of a wary “okay…” Even the “reworked” American version barely works on the surface level of a crime thriller—and it’s exhausting enough that it discourages any attempt to go beyond the surface. I used to think that Swept Away was the worst thing that Madonna ever did to Richie (well, except for the pain of divorce, etc.) but Revolver has to be a close second.