New York Times - 04/02/1982
"...THE LONG GOOD FRIDAY is a swift, sharp-edged gangster story in a classic mold....Surprising, suspenseful drama..."
USA Today - 12/11/1998
"...The movie's IRA subplot makes it a juicy companion piece to John Boorman's great new Irish mob pic THE GENERAL..."
Sight and Sound - 08/01/2002
"...This still holds up as one of the few British gangster films with the same intensity and drive as the best Hollywood has to offer..."
Entertainment Weekly - 04/14/2006
"Hoskins is pure fire. It's the signature performance in a criminally underappreciated career." -- Grade: A
Total Film - 10/01/2006 5 stars out of 5 -- "John MacKenzie's masterful thriller features a career-best performance from Bob Hoskins..."
Premiere - 08/24/2010
"A brilliant and often overlooked gangster film....Filled to the brim with pure grit and ear-bending cockney slang, this is a tense journey with outstanding performances from the entire cast."
John Mackenzie's rabidly engaging, complex gangster film concerns the demise of a dominant English racketeer, Harold (Bob Hoskins), who is about to change his image and go straight. While negotiating a deal with an American organized crime organization to develop the barren Docklands section of London, his associates begin to turn up dead, and the tough Cockney businessman realizes that getting out will be more difficult than he had anticipated. This extremely tight British thriller made Hoskins a star.
London underworld gangster Harold Shand controls a criminal empire built on every vice except narcotics. Even his gun moll, Victoria, is a vision of class. For his next racket, Shand plans to buy up moribund London dock yards and redevelop them for the 1988 olympics. Yet on Good Friday when Shand meets with an American Mafia chief to seal their financial partnership, somebody kills two of his right-hand men, attempts to murder his mother, and blows his favorite pub to high heaven. Directed by John Mackenzie and written by Barrie Keefe, this engaging complicated melodrama shows a man trying to control his animal urges and to act like a civic minded business man. He detests anarchy and tries to use violence only as a tool. Eventually he is doomed because his brand of capitalism can't defend itself against the terrorism of the IRA.
Essential Cinema |
Organized Crime |
Road To Ruin |
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