The Gentlemen 2024 Tv Show Series Cast Crew Online
Witty, nimble, sharply dressed, and light on its feet, Guy Ritchie’s dexterous “The Gentlemen” is a largely surprising delight (mostly, anyhow)—an entertaining crime comedy with a snap, crackle, and pop that’s far superior to the more self-enamored 2019 film of the same name whence it came. The connections to the original are tenuous at best, nothing more than the cannabis and drug empires milieus in the U.K. and the unsavory cast of characters that inhabit it, really, but featuring similar effervescent spark and appeal, it isn’t as offputtingly smug as the original (a decent film often elevated by its cast, but derailed by its conceited, wink-wink-nudge-nudge humor and overly self-satisfied meta-filmmaking navel-gazing nonsense).
Co-written by Ritchie and Matthew Read (a “Peaky Blinders” scribe who has also often worked with Nicolas Winding Refn), the latter is a welcome addition, seemingly grounding the filmmaker a little and keeping Ritchie in check from his worst, overly stylish, aggressively self-referential impulses even when the plot sometimes strains credulity. Sure, there’s a sprawl of characters, and the increasing difficulties get a little knotty at times, but it largely goes down as easy as much of the luxurious top-shelf bourbons that are seemingly always on hand. While Matthew McConaughey’s Mickey Pearson in “The Gentlemen” film is never really mentioned by name, his underground weed-growing dynasty is clearly the connective tissue that binds the narratives.
A new class of criminals is introduced in “The Gentlemen,” perhaps proposing that deep down inside, members of the seemingly noble English aristocracy were the original gangsters all along. Ritchie’s crisp series centers on the Horniman family and one Eddie Horniman (an unexpectedly adroit Theo James), the second son of the Duke of Halstead. Never expecting to inherit any of the family country estate or wealth, Eddie is largely self-accomplished, excelling in life and ascending to the rank of Captain in the British Army, introduced initially, at his station, as an extremely competent get-it-down soldier. But when his father unexpectedly passes away, and the uselessly supercilious firstborn son Freddy Halstead (a deliciously amusing Daniel Ings) is purposefully overlooked in the will, Eddie’s life suddenly pivots in a much-unanticipated direction.
While Freddy, his wife Tammy (Chanel Cresswell), and the extended family reel at the unforeseen revelation that Eddie’s inherited everything while mourning the Duke — his mother Lady Sabrina (Joely Richardson), sister Charly (Jasmine Blackborow), and the loyal groundskeeper Geoff (Vinnie Jones)— Eddie contends with a fate and fortune he never asked for.
As the heir grapples with the innumerable responsibilities that come with owning this English country estate—including the myriad debts that his recklessly stupid liability of a brother has accrued—the stylish, sardonic, and quick-witted Susie Glass (a terrific Kaya Scodelario) comes knocking on his door, not a moment too soon. She reveals that the Halstead estate is home to an enormous weed kingdom, and its proprietors—led by the big Daddy boss, Bobby Glass (Ray Winstone)—would like to continue the quid-pro-quo relationship of operating without impunity under this new landlord.
Seemingly not very interested in consorting with criminals or Glass’ canny first-lieutenant daughter Susie, who runs the day-to-day business, Eddie’s unfortunately in the middle of handling a fresh new predicament: his idiot ne’er-do-well brother—who always expected the cozy cushion of inheritance, thus never amounted to anything— is in $8 million large with a gang of merciless Cockney cocaine-dealing thugs threatening to dismember his genitalia should he not pay up, and fast (Peter Serafinowicz playing one of the main dope peddlers).
With the interest meter running and staring down the possibility of having to sell the estate to pay off Freddy’s egregious balances— not to mention a wealthy American buyer, Uncle Stan (Giancarlo Esposito), waiting in the wings, eager to buy the patrician property— Eddie proposes a treaty that will solve both their issues. Having aligned interests—Susie hoping to keep things status quo, Eddie needing a serious cash-flow induction to bail out his shameless and senseless sibling— they come to a mutually reciprocal understanding that will allow the manor to stay in the Horniman family, Freddy to live, the debts to be paid and for the cannabis fiefdom to stay operational.
