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Crime, Drama, Thriller, Romance
IMDB rating:
William Monahan


          London Boulevard IMDb    London Boulevard Wikipedia    London Boulevard Soundtrack

Donald Sumpter as Pentonville Governor
Anna Friel as Briony
Andrew Havill as Unlikely Vagrant
Sanjeev Bhaskar as Dr. Raju
Velibor Topic as Storbor
David Thewlis as Jordan
Ray Winstone as Gant
Eddie Marsan as DI Bailey
Colin Farrell as Mitchell
Keira Knightley as Charlotte
Ben Chaplin as Billy
Matt King as Fletcher
Jonathan Cullen as Anthony Trent
London Boulevard Storyline: Fresh out of prison, Mitchel wants nothing to do with crime but accepts a kip from Billy, a marginal grafter, and accompanies Billy on rent collection trips. He's also old school, wanting revenge on two youths for assaulting a mendicant he's befriended. He's got a strung-out sister to protect, and he's offered a job protecting a famous actress from paparazzi. The plot lines join when Michael finds himself attracted to the actress and Billy's Mob boss, Gant, finds ways to force Michael work for him. He also warns Michael off revenge against the assailants of his friend. What are Michael's options: is there any way to avoid Gant, protect his sister, and find a path to love?
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From the writer of 'The Departed', a British gangster movie with a twist…
I remember when this came out it didn't make any big ripples in the pool of critical acclaim. Just another British gangster movie was the vibe I got from various sources. Even so, when it recently aired on TV I decided to give it a look. I must admit I was pleasantly surprised to find a very understated, but at the same time, quite violent film that I quite enjoyed. It does have its faults though; I'll get to them after this very brief summary.

When Mitchel is released from prison having done a three year stretch for an assault he finds it all too easy to slip into his old ways. An old friend, Billy Norton, sets him up with somewhere to live and takes him out collecting protection money in the high rise flats. It's not what Mitchel wants though and he is tempted with an offer of a job looking after reclusive actress, Charlotte. Her assistant (for want of a better word) Jordan shows him the ropes but he is always being dragged back into the world he is trying to escape. A big crime boss, Gant, wants him to steal from Charlotte, but he has become very attached to her. Can Mitchel get away from the life that sent him to jail or will he be sucked back into that life to protect what he holds dear? There is much more to it than that but the Spoiler Police have threatened to take away my PC if I say any more.

A very well made film with some interesting performances. I thought Colin Farrell did a decent job as Mitchel, although I did find his English accent a bit odd. Keira Knightley also put in a decent turn as the slightly paranoid Charlotte. David Thewlis as Jordan and Anna Friel as Briony (Mitchel's sister) were excellent. Finally, Ben Chaplin as Billy Norton and (of course), Ray Winstone as Gant both did excellent work also.

I found the film quite confusing at first, there were many threads that started and didn't really seem to go anywhere. Once the Mitchel/Charlotte storyline gets established though, it does become more coherent. As I said at the beginning, it's quite violent and so maybe not one for the more squeamish. Rather a lot of time is spent on establishing Mitchel as a gangster and not enough on his blossoming romance with Charlotte. This meant that I ended up not really convinced by their relationship in the end and so it didn't quite work (for me). It is still worth a watch though and I'd still deem it… Recommended (just).

My score: 7.1/10 IMDb Score: 6.3/10 (based on 13,450 votes at the time of going to press).
A Miserable Gangster
There are a lot of empty moments throughout London Boulevard. The story centers around a brooding ex-con Mitch (Colin Ferrel) who has just been released from prison. Old habits die hard in this character driven melo-drama set in a very dreary England, where the hero can't help but fall back on his violent nature.

It is not so much a bad story as it is a bad execution. It begs to be told at a quicker pace. The hero's haunted past is never truly flushed out and even with it's neat little aha-ending, it does not resolve enough in it's philosophy. The character's stand as types rather than people, showcasing how the quest for beautiful privacy in the celebrity world (Keira Knightly) crossed with the seedy private dealings in Mitch's crime world can mesh so seamlessly when provoked.

As far as gangster films go there have been worse. But even the gangsters of LB, in their ruthlessness, leave something to be desired in the way that they are captured on film. Where Tarantino might not show an ear being shaved off, in London Boulevard we hardly see the deeply vicious violence but only it's aftermath.

It's pacing is slow and the story is not grand enough to allow it to dribble on the way it does before fizzling out at it's lackluster conclusion.
Let us start with Ben Chaplin's abysmal cockney accent..
As soon as I heard Ben Chaplin's mockney accent it was obvious to me that this was going to be a poor movie, and I wasn't wrong. In this modern post Mary Poppins age of professional voice trainers there is no excuse whatsoever for an accent as bad as that.. it was like someone doing a joke impression of Bianca from EastEnders: 'I told yahhhh, I need yaw elp, tomorraaah'. Each time he opened his mouth I felt like putting my fist down it, (I wish Ray Winston had), the Windsor knob

As always Farrell fairs better and despite everything is still good in this. Winston is.. Winston, so good value as always

As usual Knightley is false and more interested in pouting correctly in each shot like she is in a Chanel advert, rather than being natural for once. No chemistry with Farrell whatsoever

The direction is horrendous and we jump from one unrelated scene to the next at the speed of light

The music choices are all wrong in this too and would be okay if the movie was set in the 60's, which unfortunately it isn't. Annoying sound design.. a cricket in an underpass? Enough said really

There were surely enough talented people involved here for this movie to be as good as The Long Good Friday for example, and the fact that it doesn't come close is shameful

Overall a waste of Farrell's talents in particular and without him (and Anna Friel, who I've never seen looking fitter) this would be a 1
entertaining and macho
I've read many bad reviews about this movie and despite that I decided to give it a shot, and I'm so glad I have. I don't understand what people expect from movies like this other then entertainment and (if possible) some intelligence. This movie has it both, plus a great soundtrack. It kept me entertained from the first minute and made me feel like I'm right there at the scene. Acting is just brilliant: Collin Farell is excellent in being macho man but most credit I would give to Ben Chaplin,who just can't be more convincing as scared and snitchy "accessory gangster", and although I'm not big fan of miss Knightley in this movie I didn't feel weired watching her acting- as I usually do.

All in all please check this movie out
Perplexing and poorly-conceived movie
I really wanted to admire this film but the confusing plot, unintelligible dialogue(particularly from Ray Winstone) and ridiculously loud music soundtrack spoilt it for me. There were sudden plot twists and developments that made no sense, as if the continuity department had pasted scenes together in random order. The ending was tacked on to end the movie just for the sake of it. What I wanted to know is what motivated David Thewlis' character to commit murder? Who was the Bosnian guy? Why is Anna Friel's character so annoying? Why do I care? If you wish to see a first-rate British crime movie, watch "Harry Brown".
Badly misfiring London gangster flick
STAR RATING: ***** Saturday Night **** Friday Night *** Friday Morning ** Sunday Night * Monday Morning

Mitchel (Colin Farrell) is released from prison, and meets up with a ne'er do well old friend who offers him little chance of a hopeful future, as do the wider circle of friends he knows. He's also concerned about his sister, who seems to be falling off the rails. But by chance he finds himself acting as a guard to movie star Charlotte (Keira Knightley) and finds himself engaging in something that could point him in a successful future. But things take a sour turn when he runs foul of a feared gangster...

London Boulevard is a total mess of a film, which an all star cast list and all the catchy 60s tunes in the world can't do anything to cover over. From the hazy, apathetic plot that's hard to get in to and all over the place, to lead star Farrell doing what seems to be another mumbling, poor attempt at a cockney accent, debut director William Monahan has chosen a weak effort to be remembered as his first film behind the camera, and another nail in lead star Farrell's rapidly disappearing career resume. Co star Knightley is of little value, just blurting out her lines as an uptight, on edge young woman, while Ray Winstone could have just phoned in his 'feared local villain' role. Current hot talent Stephen Graham and Eddie Marsan are wasted in more minor roles, not that the material is there for them to work with, anyway. The film just feels completely drained of any sense of coherence, direction or sense, a badly misfiring piece that had the potential to fire high but goes disasterously wide of the mark, and serves as a worthless notch on the bedpost of all those involved. *
Could not get this movie
What exactly is the sweep of this? Everybody on earth is vile and evil? There were so few characters in this who had any sense of right-and-wrong. There are bad people but in this there were few others. Maybe the actress and the homeless guy but I think he'd been in prison. Most of the other characters were awash in complete moral bankruptcy. What place on earth has nothing but bad people? A good script wrestles with what is real it is too easy to make everybody totally bad. We don't really know why most of these were so badly flawed. This movie reminded my of "The Bad Lieutenant" which also made me feel sick to my stomach afterward.
Wake me up when the drama starts
What I thought was going to be a UK version of "Reservoir Dogs" was just a boring film that has gone to the dogs.

The most exciting part for me was when I spilled my tea when I fell asleep.

The realistic plot however must be commended. It's not every day that a world famous superstar falls in love with a criminal just released from jail who then acts as "handyman-cum-murderer" - how utterly original. O no wait a's just so far fetched that it's unbelievable. However it takes what seems like a week of viewing time before it becomes clear just what the hell the film is all about.

The frequent use of the word "cunt" seems designed to somehow make this a gritty and realistic "underworld thriller". It just got fairly boring very quickly.

As a fan of Colin Farrell I was very disappointed that he accepted this's a film that will not enhance his career...he should have stuck with making phone calls from a public booth.
Not exactly streets ahead of some of Britain's better gangster films, but a pleasant trip down a familiar lane none-the-less.
London Boulevard uses the age old premise of a former criminal let loose from of prison for the first time in years and spins a wiley little tale about this person getting involved in, and up to his neck in, all manner of criminal shenanigans of which he feared the veering back toward. Blurring lines between what it is a harder, meaner British gangster film of old and what might be conceived as a lighter, more comically imbued piece reminiscent of far recent-a gangster episodes, American born William Monahan, here debuting behind the camera whilst working off of his own script, weaves an enjoyable crime drama from a source material that knows its place; realises its inspirations and constructs a nourishing character driven tale predominantly operating within the realms of archetype.

Colin Farrell plays the lead, a young Englishman named Mitchell fresh from the confines of a jail cell now out and about as summer comes to an end looking for some kind of work amidst the mingling with some old friends; former criminal cohorts and loose family members. As a character, we sense Mitchell is reformed; his rueful expressions as he lies in his cell give way to the foiling of a robbery once outside two youths were about to execute on an unsuspecting young woman withdrawing cash from a bank machine; as, on another occasion, he donates whatever cash he did have to a homeless man he goes back rather far with. His change in conscience runs hand in hand with definitive changes on the outside; an old contact, now more broadly linked to crime and criminal syndicates, named Billy (Chaplin) informs Mitchell that Britain is now smoke free. A later, smaller but pleasingly intricate moment sees Mitchell standing on a public street and looking on in a confused fashion at a Muslim woman walking on the other side - her observing of Muslim law, walking dressed in full respective gear-plus veil, additionally going a way in establishing Mitchell's newfound sense of alienation from the world he left when compared to the one he now occupies.

As things unravel, our lead becomes more involved in the life of a Britsh actress named Charlotte (Knightley), a softly spoken and rather shy woman now living through the ill-gotten consequences of the stardom, celebrification and the glamour which imbues her profession. She spends most of her days indoors whilst limply wrapped up in a cardigan; young, confused and coming across as somewhat vulnerable, she is in stark opposition to Mitchell's heavier build and more aggressive demeanour. Charlotte's hiring of Mitchell through an often spaced out former actor friend named Jordan (Thewlis) to guard her; reassure her and chip in with some manual labour is the latest edition to a shrouded life born out of a career on the continent in the niche film market. Indeed, it is Jordan whom rather dryly points out, in the process citing Noé's 2003 film Irreversible, that had it not been for Monica Bellucci, Charlotte may very well be "the most raped actress in the history of European art cinema", thus establishing a distinct on-off screen set of characteristics that paints portraits of her charisma and sheer bravery but introversion off it. Additionally, Mitchell's observing of some billboards housing Charlotte looking glamorous as he nears her guarded compound sees several of them change colour from red to blue, hinting at such a duality and mixture of identities, while his arrival at her dwelling to a song on the soundtrack blaring out the lyrics "I'm your man....." wholly reiterates his cause for being there.

Complications arise when Ray Winstone's Robert Gant enters proceedings, a Rolls-Royce owning; chauffeur driven heavy weight London gangster with a short fuse; a clan of tough heavies and a penchant for regressing back to a disturbed childhood every time he violently eliminates somebody. With Winstone's trademark East-End accent and the manipulation of the man's star power, Gant is good value as a walking, talking stereotype; Bob Hoskins' The Long Good Friday character Harold Shand by way of a Spitting Image puppet. When he comes to confront Mitchell in a halfway-house, the man tries to infiltrate Mitchell's life; the suggestion of planting cell phones onto his person and suggesting other such ideas so that he may worm his way into Mitchell's life as his lackeys loom out of sight behind him in this, an enclosed terrace house, working well.

The crux of the film is made up of the bond between Charlotte and Mitchell, ties that they share via an alienation or a disenchantment at the world; the Britain or universe as they know it which has seemingly disappeared and rendering the pair of them ailing, flailing people turning their noses up at what they did because it has brought barely anything more than grief and confusion. Their ties eventually come to see them feel rather fond for each other; the inescapable sensation of the world around them persistently there to eat one up again calling to mind a number of past films and here, working well in its drawing on inspiration from rather than straight up lampooning. Monahan weaves this love story with a revenge sub-plot that opens up early on with all of this as well as Gant's persistent, looming presence really rather well; the majority of the characters, right down to a corrupt police officer character whose facial features has him look like he's just raided a joke shop and pasted an array of faux-disguises onto his face, integrating with one another and flitting in and out of each and everybody's lives in an ambitious manner which is reigned in and kept grounded; resulting in a competently executed film.
Bad ending
Not one to do reviews (this is my first), but felt the need after watching what I felt was otherwise a very enjoyable film. A little dis jointed I must agree, but the factor that motivated me to write being the very poor ending. OK if it was originally a novel and that ended the same way, you can forgive a little bit, but to glorify knife (albeit Stanley knife) crime is wrong in so many different ways, why could we not have had a happy ending??? Films regularly change novels to suit and do they not shoot alternate endings anymore? Can't see too many 'normal' people going for the one in the film tbh. Ruined the film for me and lost at least 3 points off the score!
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