I’m Paid To Catch Crooks, Not Get Them Elected – Welcome To The Punch

28 12 2016

Welcome to the Punch (Momentum Pictures - 2013)

If I were to ask you to compare the ways of life in both the UK and in the USA, you could probably come up with a big hefty list, but I could easily bet a substantial sum of money that one of the first things you would note is that in America, ordinary people are allowed to carry a Gun. It is embedded in the constitution of said country that ‘ordinary’ people are allowed to bear arms, so it comes as no surprise to the rest of us that there are a lot of shootings in America…which eventually (of course) lead to major Massacre’s more than once a year; but what do you expect from a country that has such a relaxed attitude to the distribution of deadly weaponry! In the UK we have a stricter form of gun control by only allowing certain people to have access to such weapons where as in America such a tight control of guns is factually impossible due to the large numbers of people (or more specifically gun nutters) who think easy access to guns is actually a ‘good thing’ (even though it’s probably due to this form of idealism that is causing most of the problems). I am not saying that everything is plain sailing in the UK though when it comes to gun access as they can still be attained for criminal purposes; but for this reason the UK does have its police divisions which are specially trained to use Firearms if such a time is needed (but even so this does not stop Daily Mail readers (probably) believing that our police officers should be packing – there is no pleasing some people is there).

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Released in 2013 by Momentum Pictures and directed by Eran Creevy; Welcome to the Punch is a British Action Cop Thriller about a Policeman who ends up teaming with a noted Gangster he has a score to settle with after uncovering a deadly conspiracy within the British Police Force. The film’s script is noted for being voted third on the 2010 Brit List of the best un-produced film scripts.

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One night in London around Canary Wharf, a heist is pulled off by a team of crooks led by Jacob Sternwood (Mark Strong) who escape on Motorcycles. In hot pursuit is Detective Inspector Max Lewinsky (James McAvoy) who defies orders by chasing after them unarmed, only to be shot in the leg by Sternwood. 3 years later, Sternwood’s son Ruan (Elyes Gabel) is arrested at a London Airport after a failed heist and is in a critical condition in Hospital. Max still works for the police force, but is held in low regard by his Chief Inspector; Nathan Bartnick (Daniel Mays) due to his actions and everyday has to remove water from his shot leg. He teams up with Detective Sergeant Sarah Hawks (Andrea Riseborough) in trying to convict former army man Dean Warns (Johnny Harris), but who is let off the hook after a witness changes their statement. When news reaches Max regarding Sternwood’s son, he sees this as a chance to get revenge.

After a failed attempt to capture him, Sternwood arrives in the UK to take care of his son and asks for help from old friend Roy Edwards (Peter Mullan). With a recent spate of shootings in London, Commander Thomas Geiger (David Morrissey) is campaigning for his officers to be given better equipment in dealing with crime and sees this whole Sternwood resurgence as a way to score points in his favour. He allows Max and Sarah to take command of surveillance at an open hospital where Ruan Sternwood is being treated, hoping that Jacob Sternwood might take the bait. Things end badly however, as Max’s determination results in a gun being shoved in a civilian’s face, Ruan later dies in Hospital. Jacob Sternwood meanwhile undertakes his own investigation into what happened to his son, and lays a trap at a local Hotel where Nathan and another policeman; Harvey Crown (Jason Flemyng) take the bait, and after a small gun fight Harvey gets killed. Sarah meanwhile finds evidence regarding to a containment delivery on the river Thames. When she arrives she finds a container filled with weapons, but before she can escape she is killed by Dean Warns.

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With Commander Geiger’s blessing, Max is sent out to bring down Sternwood once and for all, and a lead on Nathan takes him to a small club, where Max runs into Sternwood, but before he can kill him, both men are ambushed by Warns and Bartnick. Bartnick is killed in the resulting fight, with Sternwood saving Max and escaping in a van. Sternwood orders Max to take him to his son in the Morgue, but while there they run into Detective Juka Ogadowa (Daniel Kaluuya) who tells Max that he is wanted for Sarah’s murder. Sternwood and Max manage to escape and go to Dean Warns’s Nan’s house where they use his Nan (Ruth Sheen) to get him to take them to the containment yard where the container full of guns are. While there, they also trap and capture Commander Geiger who informs them that he set up the means for the recent spate of gun crime in the Capital and helped to ship in the guns, so that when the correct political party took over, he could supply officers with the equipment they needed to protect themselves better. At that moment, armed men sent by Geiger’s PR Jane (Natasha Little) attack the yard, but Max and Sternwood are able to defeat them, killing both Warns and Geiger in the process. With the police on their way to the scene, Max considers shooting Sternwood, but lets him go, and is arrested on the spot as Sternwood flees the scene.

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Welcome to the Punch is a very interesting film, but one that I would not usually concern myself with watching. Yes there are a lot of independent British gangster based films that are produced year in year out but most of these don’t really grab my attention. When I first saw the trailer, I thought it was a very good trailer and was sort of suckered in with the line that stated that one of the executive producers was Ridley Scott (I know); but the trailer still grabbed me enough to keep it in mind. I eventually got round to going to the cinema to see it and was absolutely blown away by it. While not necessarily the best film of 2013 (my 4th favourite overall), it was a film that while released early on, was one that remained in my mind and would not let go of.

James McAvoy

Welcome to the Punch is not really a gangster film, nor is it a knuckle dusting, all guns blazing shooter movie, what it is, is a solid British Police/Cop film. What do I mean by this? Well, it is a crime film with elements of gangster films but is not one in search of blood lust. What we have is a decent detective who has had his pride shot after an incident wanting some form of restitution. Due to his past failings though he is held in low esteem by his superiors and is sort of made a joke of and as such has fallen on hard times in his personal life. Meanwhile, the super criminal who has pulled off a heist which he can safely retire on, is forced to return to his home country when his son is in danger. This means he has returned, and the detective sees this as an opportunity to settle a score with him plus return into the good books with others. While all this is coming to a head however, the incidents surrounding this turn of events begin to unravel and a much darker conspiracy comes to the fold which means that the two great enemies will have to leave it for later as there is something they both need to settle first and need each other to pull it off. What we have here basically (or as basic as I can get it) is a big action packed detective story with a boiling vendetta ready to erupt engulfing the entire city with it, but still comes with that murder mystery formula that works so well along with the big explanation as to what has exactly been going on and the real crooks revealed, but in the end succumbs to a very tragic end for the hero. It’s like a great crime novel, something that if it wasn’t McAvoy and Strong, could well be Harry Bosch (have not read a single novel, but my researched understanding suggests that he would fit the bill).

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To back up its story, Welcome to the Punch comes with a small but still powerful cast of actors and actresses who deliver some amazing characters in the process, seemingly suggesting that without the actors, the characters would just not have worked. The film does of course have it’s one timers of interest who deliver little such as Ruan, Karen Edwards (Dannielle Brent) and Harvey Crown, to more included characters who still have a little but not a lot such as Juka and Jane, but all of these really go far to enhance the film’s story and setting (not to forget the city of London itself, especially when you listen to the wise words of Luther creator Neil Cross who sums up London’s character status better than anyone else), but the film’s small cast enables these varied roles to really stand out and warrant such a pedigree of acting. I do find Johnny Harris’s role a ,little clichéd in the form that he is a bruiser with little social life and has to engage a lot of heavy breathing, I just couldn’t see why he could not be more like Mike in Breaking Bad or even Buck in Far Cry 3, real characters with a unique personality but are still hitmen to a cause; however his insertion as a gun for hire really allows himself to develop a characteristic which suggests a real hitman, less an armed thug with little allowance to talk. The character of Nathan Bartnick is as unpleasant as the early morning traffic jam on a rainy day, but I suppose that’s the point. He does not come across as pleasant, but given that he is the first end level boss of the film, you can’t really introduce him as a nice man, more of a feeder into something bigger, and let a more major character present himself favorably in the eyes of the audience only to flip at the last-minute.

David Morrissey’s character is that of someone you could confuse of being a mayor if it was not explained that he is actually a police man. He is introduced really well and works hard to present himself as being a supportive influence on Max and who comes across well with the audience as a result. He is a strong leader with a lot of hope and a big heart, really showing that he sees the best in people. All that turns around in a trice however as he is revealed to be the big bad instigator of the film’s events, less a leader, more of a manipulator, whose long career has provided an insight into the criminal underworld, and one he knows how to manipulate to get his wish. His heart is in the right place, and is not looking for a position of power, not a megalomaniac, more a lunatic who thinks that with enough prodding he can get the best outcome. It’s a real shock turn of events that leaves you reeling, as for the great majority of the film; he is one of the good guys. Peter Mullan is an inspired casting choice as his veterancy on the British independent scene means he can slip into a variety of persona’s and can come across anyway he likes. For instance, in this he is introduced as something of an old gangster and a possible mentor to Sternwood, however he comes across as something of a respected member of the community with a lot of power under his belt, and while he is on the initial bad side, he does prove his worth and becomes a trusted ally to all those who side with him. He maybe a retired gangster, but he still comes with a real whack of a punch while still allowing a real sense of sanity to creep in on those around him.

Mark Strong

The way that a crime lord is presented can seem very samey at times, which is why it’s nice that in this case we have someone a lot different. Jacob Sternwood is a criminal who has earned a great deal of respect from his peers and is a real tactician in the execution of a crime, his attitude to what he does though comes across as less a scheming villain, more someone looking for the opportunity to get away and be set up for life. He is suggested of being a hard worker, someone who if he was not a criminal would more than likely be real working class hero whose hard work pays off in dividends. He is a criminal though, but in the same style as what I have suggested, he is a criminal hero of sorts and is just looking for enough to live a nice relaxed life. This is strongly suggested more when his son gets into trouble, as he cares greatly for him, even more so to re-enter harm’s way to check up on him and pursue a vendetta on his behalf. Into this we have the rookie detective sent to bring him down; someone who took it too far and is now forever paying the cost for it, and has a low self-esteem due to his past behavior. He does have a strong support network around him, but his determination to get back onto the good track of life means that he does not really see it until it is too late, and as things spiral more out of control for him, he really begins to understand that there is no real way out for him, and sadly, that’s what does happen. Though while Max does go all out to prevent total Chaos, it ends tragically for him, creating a deep uncertain future that there is no coming back from. James McAvoy and Mark Strong work well off each other, as McAvoy still presents that young but experienced character with deep forgotten hopes and repressed memories, while Mark Strong presents that real strong determination but one that makes him human; not machine nor monster; together creating two very relatable characters.

James McAvoy and Mark Strong

More than anything about this film, the real highlight has to be Sarah Hawks played by the incredible Andrea Riseborough. I could not get enough of her character. She is not an assistant to Max, nor is a running partner in learning, but someone who deeply cares for him and is making it a personal mission to find a way to bring the real Max back. In many scenes she surpasses Max and you really begin to feel for her, and can see a lot of hope and future for her, thinking that she will be the big hero (or at least should have been the lead character). She presents incredible energy in a tough world, not delivering charisma or charm but more a sultry aggression, one that is fighting to be let out, but continues to maintain a level of professionalism. It strikes me though, that with a film about the police and crime, that none of them can spot the real crime in progress, that of the death of Riseborough’s character. It still annoys me to this day that Riseborough’s character was killed off as I simply wanted more of her in this film. She is more what McAvoy should have been than he plays, so why could they not have killed him in a shock twist and allowed her to take over from him. She was incredibly enjoyable and whose death is the real crime of this story.

Andrea Riseborough and James McAvoy

Welcome to the Punch does not carry a heavy burden of Special Effects, but does come with some terrifically choreographed gun fight scenes including some nicely, all be it brutally realistic scenes of the use of injection needles in James McAvoy’s leg, plus a whole heap of excellently devised shooting matches and even a pretty good bike car chase scene in a surprisingly quiet late night Canary Wharf. Any other scenes of adrenaline pumping action really come down to the human level of chases scenes on foot, plus the raw primal instincts of the cast as they deliver very realistic characters, all who appear to be on the edge of mental breakdowns in such a stressful world (come to think of it, the bike chase scene in the underground tunnels does sort of make me think of the opening scene in Blade: The Series). The film’s soundtrack meanwhile (composed by Harry Escott) is a very varied selection of tracks that that range from small low key pieces, to high-octane shouts, all dependent on the scene in hand. For the most part the film relies mostly on a sophisticated level of silence as the characters are talking and only brings in the noise as the time for talking comes to a close. Even when the music is needed, it decides to play tracks that suggest more a moment of thought rather than a moment of action; not necessarily a bad thing, just very different. Scenes that carry a piece of note include the opening heist, Max’s Flat, the attack on Sternwood’s Icelandic villa, the near kiss, the early container, post Sarah’s death, nightclub shootout, the Morgue and the Credits (not forgetting the wonderful piece of music from the film’s trailer, no idea what it is sadly).

Welcome to the Punch is a very satisfying crime thriller. It is a film that is at a good length and carries enough mystery, but not too much to heavy interlace with the scenes of action so as not to confuse itself nor the audience. It is a film with a good sophistication of action sequences, while also presenting a prolific cast of characters and delivering a deep sense of emotion. Yes, it does have its down parts (such as DS Hawks’s Death!) but it also has a lot to make up for that (except DS Hawks’s Death!) and carries on to create a brutally realistic film with a tragic un-turn-around-able ending that makes you question what the future holds and if the villains actually got away with it or not. At the same time though it does go on to question real world ideas such as gun control, the arming of British Police officers; and also delves deep into some of the deepest levels of corruption that we may never see in some of our most trusted institutions. Altogether, I think it is a rather superb film that does something very different to those around it, creating a rather unique if but small experience for all those willing to give it a shot.

GENEPOOL (Happy New Year).

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2 responses

7 01 2017
mostlyacousticsteve

This was a fascinating read,and how great to have had some of your own work read and edited by one of your favourite authors!

7 01 2017
numb3r5s

Thank You. Yeah he was very insightful, ok the sheet was covered in red ink, but it made so much sense.

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