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Mark Strong
Andrea Riseborough
Daniel Mays
James McAvoy
David Morrissey
Johnny Harris.
Eran Creevy.
Eran Creevy.
Running Time
100 minutes

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Welcome To The Punch
London cooling

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Three years after master-robber Jacob Sternwood (Strong) escaped England — and cop Max Lewinsky (McAvoy) — his son is mysteriously gunned down in London. Sternwood must return to hunt the culprit, giving the disgraced Lewinsky the perfect opportunity to bring him to justice and rescue his own reputation.

Welcome To The Punch
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No-one would have blamed writer-director Eran Creevy if he’d stayed in the same suburban council-estate groove of his 2008 debut Shifty. Instead, with Welcome To The Punch, he’s boldly moved to The Big City (London, stylistically via Los Angeles and Hong Kong), ambitiously upscaled (with none other than Sir Ridley Scott as his mentor) and delivered a boisterous, unashamed and affectionate pastiche of the cops-and-robbers action thriller.

It’s to Creevy’s credit that, despite the change of direction and elevation of style, he’s refused to snap his roots. So Punch is firmly British, from the setting to the locations to the performers. No stunt-American casting here. It is a quality ensemble: James McAvoy playing against type as dogged, tightly wound police detective Max Lewinsky; Mark Strong playing to his strengths as career criminal Jacob Sternwood; Andrea Riseborough as Max’s tough-cored but supportive partner; David Morrissey doing the dour boss thing; and Johnny Harris putting his terrifying, pebbly glare to terrific use as a twitchy assassin. Elsewhere you’ll spot such stalwarts as Peter Mullan and Ruth Sheen, plus Shifty alumni Daniel Mays and Jason Flemyng. A more proficient and charismatic cast than you’ll find in most Hollywood offerings of the same order.

Yet there’s something about Welcome To The Punch that doesn’t quite land like you feel it should. McAvoy is offbeat casting for a gritty copper; the slimness of his frame and the boyishness of his features are only emphasised in the scenes where he goes eyeball-to-eyeball with the ever-imposing Strong. But that is not so much the problem. It’s more that the film is just so relentlessly, ruthlessly plot-driven. It’s as if its sheer, twisting velocity causes it to shed weight. While there’s welcome moral ambiguity and a constant shifting of sympathies, there are too few breathers for us to settle down with these intriguing characters and feel a bit of their respective backstories. It’s not like the audience needs to be told or shown every last aspect of Max’s home life, or his history with Riseborough’s Sarah, or Jacob’s relationship with his ill-fated son. But we’re left feeling like we’re watching, ultimately, a collision of (admittedly well-groomed) archetypes, rather than a clash of characters in which we’ve fully invested.

It’s a shame, given Creevy’s attention to nuance in Shifty. But Punch does supply a palliative: sheer panache. London has never looked so shimmeringly gorgeous on screen, Creevy washing it in Michael Mann blue and dry-brushing it with gunmetal. The city is evocatively lit (by Shifty director of photography Ed Wild) and immaculately location-managed. It is presented as almost otherworldly, or rather, future-worldly. Visually, Punch is borderline sci-fi; an ordnance-choked, post-austerity Britain. The action, too, is slickly impressive. Creevy proudly revels in his numerous influences, toying with, although never deviating from, kinetic-thriller formula. One darkly amusing set-piece puts John Woo slo-mo gunplay amid the chintz of a granny-flat living room. The opening post-heist chase sends motorbikes thundering down subterranean, arched tunnels in a sequence that feels like Bourne crashed Skyfall. And, appropriately for the Canary Wharf-centred setting, it all ultimately goes down at the docks in a furious, incendiary flurry. If Welcome To The Punch lacks Shifty’s heart and soul, it at least benefits from a better physique than many of its modern American cousins.

A confident, ambitious and action-rich Brit thriller, albeit one whose characters and clarity suffer from the frantic intensity of its pacing.

Reviewed by Dan Jolin

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Your Reviews

Average user rating for Welcome To The Punch
Empire Star Rating

Good movie but usual cheats

I enjoyed the movie but I do get irritated when they use the clichéd cheats. At the beginning when Max (McAvoy) hit Jacob (Strong) with the iron bar knocking him off his bike at 30 mph in the real world Jacob wouldn't have been able to get back on his feet, something would have been broken. In the hotel when the two detectives shooting at Jacob using armour-piercing bullets this matter would have been raised as to why this type of bullet was being used by policemen. Later Dean (Harri... More

Empire User Rating

Posted by lazaskey at 13:33, 23 April 2015 | Report This Post

RE: Welcome To The Punch

At last a British crime movie which isnt full of mockneys or about the Essex Range Rover Murders AGAIN it may stumble in a few places but on the whole its pretty darn good 7.5/10 ... More

Posted by filmburner30 at 16:49, 02 September 2013 | Report This Post

RE: Welcome To The Punch

I have just watched Welcome to the Punch on BluRay. I keep seeing reviews - and hearing the same from Mark Kermode - that the film lacks characterisation. I don't agree. I think the characterisation is there, in the actions and behaviour of McAvoy and Strong's characters, but also in the main supporting players, too. It does play out like Heat-Lite: this film has a running time of 100mins compared to the additional 71mins of Michael Mann's masterpiece, so there simply isn't time for a sit down ... More

Empire User Rating

Posted by rocheyb at 22:03, 01 September 2013 | Report This Post

RE: A very weak plot with unrealistic two dimensional characters.

God, this was dull & amateurish beyond it's looks. It's all style over substance, and with the exception of a couple of minor turns in the plot it's very hackneyed and cliche-ridden, even the cast aren't on form here. Some ludicrous dialogue and a generally pedestrian approach to plotting sealed it's fate I'm afraid. ... More

Posted by Vitamin F at 13:15, 07 August 2013 | Report This Post

RE: Liked it!

A few years ago, criminal mastermind Jacob Sternwood injured London detective Max Lewinsky and fled to Iceland to escape the clutches of the police. He has now returned to London because his son has been shot and wounded in a failed heist. This gives Lewinsky another chance to catch the man he has always been after. Max’s lieutenant tells him to back off, but he secretly works with his partner Sarah to join the hunt. Meanwhile, Jacob tries to find out why one of his gang members is on a murdero... More

Empire User Rating

Posted by Dr Lenera at 08:37, 18 March 2013 | Report This Post

RE: A refreshing amount of ambition for a UK thriller.

Bit of a disapointment for me this. Looks lovely but the storytelling didn't grab me and the whole thing was a bit cheesey. Dialogue didn't help. ... More

Posted by Davross at 19:12, 16 March 2013 | Report This Post

RE: A refreshing amount of ambition for a UK thriller.

e Spoilersp; Apparently he sees them in Hong Kong. Apt given London's starring role as HK in the film ... More

Posted by elab49 at 16:52, 04 March 2013 | Report This Post

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