THE STORY – When aristocratic Eddie inherits the family estate, he discovers that it’s home to an enormous weed empire — and its proprietors aren’t going anywhere.
THE CAST – Theo James, Kaya Scodelario, Daniel Ings, Joely Richardson, Vinnie Jones, Giancarlo Esposito and Ray Winstone
THE TEAM – Guy Ritchie (Showrunner/Writer/Director)
There’s something admirable about the craft of certain filmmakers, especially ones who are constantly churning out projects like their life depends on it. It’s as if an ever-growing dread grows the longer they stay stagnant. It doesn’t always mean everything will turn out in their favor, but for them, the pursuit matters. The work must keep going. This sentiment feels like a fitting throughline between British filmmaker Guy Ritchie and the overall arc of Theo James’ Eddie Horniman, the protagonist in Ritchie’s television adaptation of “The Gentlemen.” Based on Ritchie’s film of the same name, the series continues the misadventures of the newly appointed Duke of Halstead, who reluctantly becomes the face of an underground criminal organization.
Season Two proves itself to be a wild time, continuing to capture all of the staples of a Guy Ritchie project. The gratuitous violence, edgy humor, and stylized storytelling feel most at home in this world, which Ritchie is enamored enough with to be involved in such a capacity. The last few years have yielded mixed results for the popular filmmaker, with no major hit since his live-action adaptation of “Aladdin” in 2019. In a way, “The Gentlemen” is Ritchie in his comfort zone, often coasting on a style that, most of the time, elevates what is otherwise a very straightforward crime drama.
Like its previous season, each episode abides by the same formula where something proves troublesome for Eddie, who, now with some time (and a few bodies) under his belt, endures a string of misfortunes that stand in the way of his goal to preserve his estate and keep his family on top. Alongside Kaya Scodelario’s Susie Glass, the two will have to develop their professional dynamic further if they want to keep their business afloat in the face of Italian mobsters, elusive racing falcons, and even Susie’s father, the superstitious Bobby Glass, played by Ray Winstone. Ritchie and the writing team certainly keep the crude vivacity of Ritchie’s dialogue that makes his work so enjoyable. Audiences watching Eddie tailspin all season, in the face of resistance from Bobby’s methodology and Susie’s ever-ambitious nature, stay entertained.
Despite how fun “The Gentlemen” can be, this season finds the series pushing itself towards a much darker place. Eddie, now fully accepting the position he holds, must bear the weight that comes with it. Eddie is essentially in the midst of a transformation à la Vito Corleone in “The Godfather.” The brutality of this world that makes someone like Bobby Glass, or even a wildcard like Freddy, played by Daniel Ings, suited for it, slowly stains Eddie. James brings the right amount of charm, class, and viciousness to make him a leading man fitting for a Ritchie-helmed project. He sells this season’s arc for Eddie, pushing the needle on what he can do with the character. The ensemble is a blast to watch, especially veteran actors like Winstone and Vinnie Jones, who get plenty of time to shine this season.
While it’s nice to see an actor like James take center stage with a Geoff-focused episode towards the back half of the series, “The Gentlemen” does take plenty of detours this season with certain side plots that either end in the most inevitably predictable way or do little to push the overall narrative. One of them is Freddy, who spends most of the season on the sidelines in rehab, trying to weasel his way back into the manor after his endless sea of transgressions. Whether it’s because of Ingles being busy in the last of Westeros with the “Knight of the Seven Kingdoms” or because it’s clearly setting the stage for something down the road, it’s underwhelming. Even watching Susie’s storyline of her venturing into her own side business tied to her ex is merely a time-killer till it ties back to the ever-evolving power struggle between Eddie and Bobby.
Ritchie’s direction makes all these sidesteps look as lavish as the lifestyles these characters relish. The ostentatious production design is always marvelous to fawn over and makes for the most immersive stages for Ritchie to capture. While the direction of the series is solid, it’s mainly the writing that pulls audiences in. Even with its few missteps, which are more than typical of many sophomore seasons, the series still has plenty to offer for those willing to stick with it. If nothing else, “The Gentlemen” is the rare case where style over substance actually pays off.
THE GOOD – The series still captures Guy Ritchie’s signature charm, always making it a fun watch.
THE BAD – Certain storylines this season don’t do much but act as a buffer to the central narrative.
THE EMMY PROSPECTS – Outstanding Directing For A Drama Series
THE FINAL SCORE – 6/10
