Guy Ritchie is without a doubt one of the most productive filmmakers working today, as he has already made six films since the beginning of the 2020s, with the two additional features “In the Grey” and “Wife & Dog” coming out soon. While Ritchie’s latest film, “Fountain of Youth,” is a cheap “Indiana Jones” rip-off that ranks as one of his worst efforts, it’s impressive how consistent he has been since his rather humble origins. The 1990s saw many young writer/directors trying to create their own style of twisty, dark comedic neo-noir crime thrillers that were influenced by the work that Quentin Taranntino did on “Pulp Fiction” and “Reservoir Dogs.” However, Ritchie crafted a uniquely British, haphazard style of storytelling that introduced the new subgenre of “underground London crime capers,” which has itself spawned many imitators.
Ritchie has worked at every stage of the Hollywood system; while he began making self-financed indie projects, he would be eventually given the reigns to major studio blockbusters, such as Warner Brothers’ “King Arthur: Legend of the Sword” and Disney’s live-action remake of “Aladdin.” Ritchie may have experimented on television with “Mobland,” “The Gentlemen,” and the upcoming “Young Sherlock Holmes,” but it’s almost certain that he will continue making films. Here are the top ten best Guy Ritchie movies, ranked.
10. RocknRolla (2008)
“RocknRolla” marked the first of several comebacks for Ritchie, as he had been coming off the successive failures of the remake of “Swept Away” and the Jason Statham noir thriller “Revolver.” Ritchie was clearly back in his comfort zone, as “RocknRolla” returned to the gangsters, crime wars, and bureaucratic fixing that had been the subject of his first few films. While “RocknRolla” would never be praised as original, it did indicate that Ritchie was capable of evolving his style; although there are still doses of dark comedy, “RocknRolla” is a tad more serious in its depiction of the all-consuming nature of the criminal lifestyle, with homages to the classic exploitation thrillers of the 1970s.
Ritchie is often at his best when he can write clever, snarky dialogue for actors who have real presence and an ability to chew scenery, and “RocknRolla” added many new collaborators to his repertoire. It’s impressive that such a classical actor like the late great Tom Wilkinson was given the chance to spew some of Ritchie’s witty one-liners, but “RocknRolla” also proved that Gerard Butler was an actor with real personality, and not just the generic lunkhead that some had assumed that he was in the aftermath of “300.”
9. The Covenant (2023)
“The Covenant” was a very different project for Ritchie, as it is arguably his most straightforward and serious film to date. While not directly based on a real story, “The Covenant” is inspired by the aftermath of the United States’ military’s involvement in the Middle East, in which many local translators were left abandoned after the American troops return home. “The Covenant” explores the story of Master Sgt. John Kinley (Jake Gyllenhaal), who goes on an independent rescue mission back to Afghanistan to rescue his former translator Ahmed Abdullah (Dar Salim), who was responsible for saving his life.
“The Covenant” drops the quickly-edited, volatile style of most Ritchie films in favor of more gritty sensibilities that evoke comparisons to “Black Hawk Down” or “The Hurt Locker.” Although it does feature some effectively shocking moments of violence, “The Covenant” is just as effective in its emotional moments, particularly as it builds up the bond between its two leads. Gyllenhaal is often cast as a complicated,troubled character, and is able to effectively communicate the perils of post traumatic stress disorder. However, it is Salim who steals the film with a reserved, moving performance that showcased his depth as an actor; if Salim goes on to have a more accomplished career, he will have Ritchie to thank.
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8. The Ministry of Ungentlemanly Warfare (2024)
“The Ministry of Ungentlemanly Warfare” is perhaps Ritchie’s most gleeful throwback film, as its depiction of World War II heroics can be directly correlated to “The Dirty Dozen,” “The Great Escape,” or “The Guns of Navarone.” While its very loosely based on real events, “The Ministry of Ungentlemanly Warfare” effectively utilizes its historical setting to tell a very straightforward adventure story that relies upon age-old archetypes; a group of rouge, special ops soldiers are enlisted by Winston Churchill to take down as many Nazis as they can. Since no one would complain about Nazis being murdered in brutal fashion, Ritchie is able to amp up the violence to a playful degree.
The old-fashioned nature of “The Ministry of Ungentlemanly Warfare” doesn’t feel antiquated when considering the star power that Ritchie attached. While Henry Cavill was a poor fit for the dour, brooding portrayal of Superman in Zack Snyder’s films, he’s perfect as a smart-aleck war hero who is as fast with his quips as he is with his fists. Also strong in the film is Eiza González as Marjorie Stewart, a Jewish spy who helps to lure unsuspecting Nazis to their demise; while Ritchie has occasionally struggled to write female characters, González’s performance is a standout.
7. Wrath of Man (2021)
“Wrath of Man” was another surprising turn for Ritchie, who had developed one of his most substantial working relationships with Jason Statham. Although Statham had begun to develop his personality within his first few projects with Ritchie, he steadily became Hollywood’s go to star for B-list, mid-budget action and revenge films. “Wrath of Man” saw Ritchie adapting to the style that best fit his star, and delivered what may be his crowning achievement as an action director. Between its exhilarating heist sequences and inventive use of gunplay, “Wrath of Man” feels like it combines the best of both “Heat” and “John Wick.”
Like most Ritchie films, “Wrath of Man” has a fairly straightforward premise that gets increasingly complicated as a result of flashbacks, twists, and chaptered sections. Statham stars as a former thief whose son is killed during a robbery gone awry; in order to draw out the criminals responsible, he takes a job as a cash truck driver in Los Angeles, where he is given free reign to use lethal force when taking out potential robbers. Ritchie drops all hints of irony in order to focus on the nasty brutalities of revenge, which gives Statham the chance to do what he does best; few action stars are this consistent, and Statham is someone audiences will never not want to see taking out bad guys with extreme prejudice.
6. Lock, Stock and Two Smoking Barrels (1998)
Ritchie’s first film isn’t just one that launched its own subgenre, but one of the most impressive directorial debuts of its era; few filmmakers come out fully formed with as much confidence as Ritchie did with “Lock, Stock and Two Smoking Barrels.” The fact that the narrative is at times incoherent doesn’t matter, because Ritchie found a way to ensure that each detour was told in the most interesting way possible. With a narrative that’s capable of taking shape in order to fit the characters’ wavelengths, “Lock, Stock and Two Smoking Barrels” has just as much in common with the hangout films of Richard Linklater as it does with the “Get Carter” era of British gangster thrillers.
Ritchie found the right tonal balance within his depiction of crime; while everything is exaggerated to an absurd degree, “Lock, Stock and Two Smoking Barrels” paints an unglamorous portrayal of the criminal lifestyle, and frequently laughs at the misfortune of its characters. Despite having a small fraction of the budget he would eventually earn, Ritchie adds so much personality to each minor set piece that the limits of the universe in “Lock, Stock and Two Smoking Barrels” seem endless. The film also helped to launch many of his recurring actors, including professional footballer Vinnie Jones.
5. Sherlock Holmes (2009)
The “Sherlock Holmes” stories written by Sir Arthur Conan Doyle belong to the public domain, meaning that any studio or creator can adapt them in any way that they see fit. Although there have been Holmes films that are prestige (“The Private Life of Sherlock Holmes”), youth-centric (“Young Sherlock Holmes”), horror-adjacent (“The Hounds of Baskerville”), and modern (BBC’s “Sherlock”), it was Ritchie who first through to make the classical detective into a globetrotting action hero in the vein of James Bond or Indiana Jones.
What’s most impressive about “Sherlock Holmes” is that Ritchie does not fail to deliver on the brilliance of the source material; by using his trademark style of kinetic editing, Ritchie is able to unpack the way that Holmes’ mind works in an inventive way, which also adds a playful sense of humor to the historical setting. Robert Downey Jr. and Jude Law may be doing a version of Holmes and Watson that feels more reminiscent of “The Odd Couple” than anything else, but it’s also some of the best “buddy cop” action filmmaking in years; Downey Jr. brings the same brilliant comedic timing that made him perfect for “Chaplin,” and Law’s mannered, workmanlike depiction of Watson gives him an appropriate straight man to play off of.
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4. Sherlock Holmes: A Game of Shadows (2011)
“Sherlock Holmes: A Game of Shadows” dials everything that worked about its predecessor up a notch, yet doesn’t feel like mindless spectacle; while the narrative is certainly silly, Ritchie is completely aware of the inherently ludicrous plot points, and seems to enjoy the ways in which his two detectives must attempt to explain them as plausible. Although Downey Jr. and Law are back to give performances that are broader, sillier, and often more comical, “Sherlock Holmes: A Game of Shadows” is also one of the best onscreen depictions of the complex relationship between these two characters; Watson cannot truly deny himself of adventure for the sake of domesticity, and Holmes’ efforts to solve the world’s mysteries are irrelevant if he does not have someone to reign him in.
The most important thing an action sequel must do is deliver a satisfying villain, and “Sherlock Holmes: A Game of Shadows” understood the assignment with the casting of Jared Harris as Dr. Jim Moriarty. By turning the dynamic between Holmes and Moriarty into a cat-and-mouse relationship similar to Batman and the Joker, Ritchie was able to heighten the stakes, enhance the theatricality, and deliver a show stopping third act that is about as good as blockbuster filmmaking can get in the modern day.
3. The Gentlemen (2020)
Those that were disappointed that Ritchie supposedly “sold out” with his failed “King Arthur” franchise and the dull “Aladdin” reboot were given a promising reminder that Ritchie hadn’t forgotten his roots with “The Gentlemen.” While the narrative extravagance is similar to that of “Lock, Stock and Two Smoking Barrels,” “The Gentlemen” takes place on a global scale, as its drug-fueled conspiracy involves American entrepreneurs, British gangsters, American film producers, and a few nasty members of the press. It’s also a case where Ritchie had fun making a story within a story (which may also be breaking the fourth wall); as the journalist Fletcher (Hugh Grant) interviews the gangster Raymond Smith (Charlie Hunnam), he steadily learns more about the ruthless marijuana kingpin Mickey Pearson (Matthew McConaughey).
While “The Gentlemen” races between set pieces at an alarming rate, Ritchie gives each of his stars the opportunity to flex their personalities. Grant is the most exaggerated as a snotty, yet hilarious journalist, and McConaughey’s depiction of a smooth-talking, southern business tycoon is an effective form of self-parody. While Hunnam adds the appropriate level of bemusement and aggravation needed to play the film’s narrator, side performances by Colin Farrell (as an idiosyncratic crime boss) and Jeremy Strong (as a morally bankrupt investor) make “The Gentleman” even more delightful.
2. The Man From U.N.C.L.E. (2015)
Few films have ever immediately announced themselves as a future classic like “The Man From U.N.C.L.E.,” as Ritchie took a gamble by making a nostalgic throwback to 1960s, Cold War-era spycraft. Although the playfulness of “The Man From U.N.C.L.E.” is a clear diversion from the growing self-seriousness of the “Bourne” and “Mission: Impossible” franchises, it’s also not a parody like “Austin Powers,” or an aggressive satire like the “Kingsman” series. “The Man From U.N.C.L.E.” plays into the tropes of old-fashioned espionage fare with a winking sense of humor, as it also adopts the playful physical comedy of “The Pink Panther” with the buddy-cop format of “Lethal Weapon.
Between detailed heist sequences, extended slapstick gags, multiple layers of double crosses, and a surprisingly earnest romantic storyline, “The Man From U.N.C.L.E.” is engineered to be as entertaining as possible. Ritchie once again proved that he understands Cavill’s sensibilities as a movie star better than any other filmmaker, as his charismatic performance is so good that he doesn’t even need to be floated as a potential James Bond. The financial underperformance of “The Man From U.N.C.L.E.” isn’t just unfortunate because it led Ritchie to make some disappointing career moves, because it meant the loss of what could have been a terrific franchise.
1. Snatch (2000)
“Snatch” is the film that defined Ritchie’s career, and it’s the most recognisable film in his canon for a good reason. While Ritchie has always been able to filter different stories and genres through his unique perspective, “Snatch” saw the creation of something new, as it allowed him to unpack the London underworld like it was a comic book universe. Although existing ethnic conflicts and family rivalries were grounded in some semblance of reality, “Snatch” was equally inspired by the zainess of a Marx Brothers comedy and the adventurous spirit of 1930s comic strip heroes. Ritchie’s dialogue is sharper than ever, as each character in “Snatch” is given just enough time to sear themselves within the audience’s memory.
Although the buddy duo of Stephen Graham and Jason Statham provide a good majority of the laughs, “Snatch” also allows an A-lister like Brad Pitt to give a wild, unrestrained performance as a brutal Irish boxer. There’s a meditative philosophy to “Snatch” that has persisted throughout Ritchie’s work; despite the chaos and confusion that surrounds each scheme and plot, nothing actually seems to evolve. It’s been Ritchie’s edict to tell his stories in the most entertaining way possible, and “Snatch” is the result of an artist coming into his own.
