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Mickey Pearson, un espatriato statunitense, ha costruito il suo impero criminale, basato sulla marijuana e altamente redditizio, a Londra, nella capitale inglese. Quando viene fuori la notizia che sta cercando di tirarsi fuori per sempre dall'attività, si innescano complotti, piani machiavellici, atti di corruzione e ricatti, nel tentativo di prendere il suo posto.

Approfondimento

THE GENTLEMEN: GENTILUOMINI, SPACCIATORI E CRIMINALI Diretto e sceneggiato da Guy Ritchie (a partire da un soggetto scritto dal regista con Ivan Atkinson e Marn Davies), The Gentlemen racconta ciò che accade quando Mickey Pearson, il re della marijuana di Londra, decide di ritirarsi dal crimine. Americano, Pearson ha scoperto la sua vera vocazione da trafficante di droga quando era solo uno studente. Nel

A dirigere The Gentlemen è Guy Ritchie,  regista, produttore e sceneggiatore di origine inglese. Nato a Hatfield nel 1968, Ritchie ha manifestato presto il desiderio di dedicarsi al mondo del cinema (la leggenda vuole che a far nascere in lui l'amore per la settima arte sia stata la visione di Butch Cassidy di George Roy Hill) e già nel 1995 ha mosso i primi passi dietro la macchina da presa, realizzando un corto di 20 minuti che ha attirato le attenzioni di Trudie Styler, la moglie del cantautore Sting, che ha voluto investire nel suo primo lungometraggio (destinato a divenire un cult generazionale): Lock & Stock - Pazzi scatenati. Dopo i buoni consensi ricevuti con l'opera seconda Snatch - Lo strappo, Ritchie ha conosciuto e sposato la cantante pop Madonna, toccando con lei il punto più basso della sua carriera con la direzione del fiasco Travolti dal destino. Risalendo lentamente la china, Ritchie ha ritrovato la via del successo grazie a# Sherlock Holmes, in cui rilegge il mito dell'ispettore di Scotland Yard. Aladdin, versione live action del classico Disney diretto nel 2019, rappresenta il suo più grande successo.Protagonista principale di The Gentlemen nei panni di Michael Pearson è Matthew McCounaghey, premio Oscar per Dallas Buyers Club. Statunitense di origini, Pearson si è trasferito in Inghilterra da una ventina di anni, ha studiato a Oxford ed è riuscito a infiltrarsi tra i vertici dell'aristocrazia, tra i cosiddetti toff guys. Grazie alle sue coltivazioni di marijuana sparse nelle più impensabili tenute inglesi, ha costruito un impero da 400 milioni di dollari ma è pronto a vendere tutto per uno stile di vita che reputa migliore. Con l'idea di ritirarsi in pensione per mettere su famiglia con la moglie, deve solo trovare il giusto compratore. Come sempre, può contare sul sostegno del fidato consigliere Ray che, come Alfred per Batman, non tradirebbe mai il suo capo nonostante non condivida il suo proposito di vendita. Ray, con le sue varie turbe (spesso ossessivo-compulsive),  ha il volto dell'attore Charlie Hunnam, già diretto da Ritchie in King Arthur: Il potere della spada.Il senso dell'ordine di Ray si rivela utile nelle relazioni con Fletcher, un investigatore privato senza scrupoli che è stato ingaggiato da un giornale scandalistico per portare alla luce qualcosa di poco lecito sul conto di Mickey, colpevole di aver snobbato il direttore della testata, Big Dave. Armato di ciò che pensa siano alcune compromettenti informazioni su Mickey, il doppiogiochista Fletcher ha il volto di Hugh Grant, la star lanciata da Quattro matrimoni e un funerale, mentre Big Dave ha le fattezze di Eddie Marsan, coprotagonista della serie tv Ray Donovan.Meno raffinato di Fletcher ma di certo più etico è Coach, un istruttore di boxe per giovani svantaggiati. I suoi ragazzi hanno provato a mettere a segno un colpo ai danni di Mickey (facendolo divenire virale sui social media) e, per evitare il peggio, Coach offre a Ray i suoi servizi fino a quando il debito non sarà ripagato o fino a quando non avrà raggiunto il limite. A impersonare Coach è Colin Farrell, attore subentrato proprio al posto di McConaughey nella serie tv True Detective.Nessuna bussola morale guida invece i passi di Dry Eye, un aspirante criminale asiatico ritratto da Henry Golding, stella di Last Christmas. Giovane e aggressivo leader di una banda, sta cercando di mettersi alla prova e di mettere le mani sugli affari di Mickey a un prezzo irrisorio. A causa dell'età è altamente imprevedibile e rende complicati gli affari tra Pearson e Matthew, il possibile acquirente americano. Supportato da Jeremy Strong, la star della serie Succession, Matthew si presenta dapprima come un amico ma non ha voglia di pagare quanto richiede Mickey: per tale ragione, orchestra un piano per tentare di abbassare il prezzo e cerca di creare una trappola stringendo alcune sorprendenti alleanze.Sebbene sia abituato a trattare con criminali e ruffiani, Mickey è soprattutto un uomo innamorato della moglie Rosalind. Interpretata da Michelle Dockery, nota per Downton Abbey, Rosalind è la matriarca dell'impresa gestita dal marito e, come spesso accade, è lei che fa funzionare le cose negli affari di Mickey.

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Top 30: the best movies of 2020!

he Top 30 that you find below is based, as per tradition, considering the year of the film's debut, everywhere in the world : if even a single spectator saw them in 2019 in an official screening they are candidates for this ranking. Not everything you will find is already available in Italy and some works (fortunately a small percentage) will not be distributed by us: they will have to be traced in another way, for example by purchasing foreign editions. I confirm this choice to tickle the nugget seeker in you. The title with which the films appear is the original one, or in a couple of cases the international one. For the rest, those who follow this blog know it, the ranking reflects my preference for quality but popular cinema. You will not find interesting but difficult films such as - for example -  Beanpole by Kantemir Balagov, Atlantique by Mati Diop or Synonymes by Nadav Lapid.

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See Contagion during contagion (if you are a hypochondriac)

Everyone reacts to the health emergency in their own way but - if we talk about cinema and TV series - I feel I can identify two schools of thought. The first, that of the "distracted", favors funny films, stand-up shows, sitcoms. That is: a laugh will save us. The second, that of the "scarers", on the contrary prefers horror films, documentaries about serial killers, disturbing shows. That is: it could have been worse. There is however a third category, the obsessive hypochondriacs, those who even finished the news want to continue to hear about what terrifies them. I, I confess, am part of this third category. And our symbol film, the flag that we wave in pajamas on the sofa, the remote control in one hand and a bowl of nachos in the other, is: CONTAGION by Steven Soderbergh .

I open critical brackets.

In 2011 the film was presented at the Venice Film Festival, where basically no one rowed it. Costing $ 60 million, played by a platoon of stars (from Marion Cotillard's C to Kate Winslet's W), it is one of the most emblematic pieces of the great puzzle that Soderbergh was building in those years (and he hasn't stopped yet: see Unsane or High Flying Bird , even more than The Panama Papers ), a kind of digital neorealism in which, jumping in and out of genres, it traces its militant map of globalization. In this case the theme is: what would happen to the hyper-connected world we live in if a pandemic broke out?

I close critical brackets.

Anyway, last night, after the last news was finished and all browsers open on the information sites were closed, I filled a bowl with nachos, I lay down on the sofa and with the remote control I selected Contagion on the Tim Vision app. My cat watched from the back the headlights of the few cars that passed on the street, the plaid kept me warm, the nachos were crunchy, in short I was in the perfect condition to face the film.

Now, the real risk of watching Contagion in this period is to see it entirely in "Fake Virus VS True Virus" mode . That is, get in the head to make a serious comparison between Coronavirus and Soderbergh's fantasy on the basis of: - the pseudo-scientific information conveyed by the film, a fictional work without any real authoritativeness in this regard - the information incomplete and probably bad interpreted that we have collected from second-hand information channels and from rumors in chat of friends A ridiculous and completely irrational behavior, mainly dictated by anxiety .

Well: that's exactly what I did.

Not only that, I made a list of entries in the notebook to score the two viruses and finally see who won. Here are the data of my experiment, if they could be of any help to the World Health Organization.

VIRUS SODERBERGH (for convenience SODERVIRUS) vs CORONAVIRUS

1) In the film, Sodervirus has a transmissibility factor R0 of 2. The estimated factor for Coronavirus is 2.5. Coronavirus wins. 2) In the Soderbergh film a lot of people come into contact with the virus and then die within a day or two, at most a week. Coronavirus has an estimated incubation period of up to 14 days. Sodervirus wins. * 3) In the film, Sodervirus is transmitted by air or by contact on contaminated surfaces, so you must continuously wash your hands and avoid touching your face. Coronavirus, the same. Draw. 4)In the film, Sodervirus mainly attacks the brain. Coronavirus instead the lungs. I don't know how to assign the point, even if the brain makes the most impression on me. 5) In the film, people do not queue at night at the entrance to supermarkets: they attack them directly by overturning the shelves and hitting the parking lots for canned peaches. For now, Sodervirus definitely wins.

In conclusion, doing the math, SODERVIRUS beats CORONAVIRUS 2-1. Tonight I watch LETAL VIRUS, I will update you tomorrow with the results.

* Here some of you might argue that a longer incubation and disease course actually helps the virus spread, because they kill the carrier later and keep it infectious longer, so the point assignment is actually ambiguous.

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Streaming movies 2020: all new titles available digitally

The entire film sector adapts to the historical period we are experiencing, trying to limit the damage, where possible. With the footage suspended and the rooms closed, the only solution currently applicable is digital.

That's why many films are coming out directly and in advance on demand, on paid streaming platforms. Waiting for the acute phase of the emergency to pass and it is possible, even with due precautions, to return to work and in the room. The times on this front, however, according to the latest news from government offices, could still be quite long.

Read also : Streaming, how much will it cost me? Guide to paid streaming platforms

So let's get ready for an increasingly home cinema. To the delight of the giants of streaming.

Film streaming 2020 Ficarra and Picone | Photo: Getty Images Medusa has made available on the main streaming platforms five films released in theaters between September and December of last year. An initiative - said Giampaolo Letta, Vice President and CEO of Medusa - to Ansa, dedicated to families in such a delicate and complex period.

These are: Tuttopposto , with Roberto Lipari, Luca Zingaretti and Monica Guerritore; If you love me by Fausto Brizzi, with Claudio Bisio, Sergio Rubini, Dino Abbrescia, Lorena Cacciatore, Valeria Fabrizi, Flavio Insinna, Elena Santarelli and Gian Marco Tognazzi; The man in the labyrinth by Donato Carrisi, with Toni Servillo, Valentina Bellé and Dustin Hoffman; They are just ghosts of and with Christian De Sica; The first Christmas , by and with Ficarra & Picone.

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Spider-Man 3: new release date for the sequel with Tom Holland

As we all imagined, Spider-Man 3  has a new release date: that is, November 5, 2021 . Sony Pictures has indeed decided to change the dates of several films, including that on Peter Parker. The sequel to Spider-Man: Far From Home, which should be called Spider-Man: Home Run or Homeless was scheduled for July 16, 2021 , but Tom Holland in the last few days had already said he did not know when filming would begin . And it is obvious that if filming cannot start this summer, the arrival date in theaters must be postponed. Sony Pictures has also decided to postpone the arrival of the animated film in theatersSpider-Man into the Spiderverse 2  by sliding it from April 8, 2022 to October 7, 2022.

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Avengers: Endgame: here's how many millions of dollars it has brought to Disney and Robert Downey Jr.

Avengers: Endgame made $ 1.2 billion worldwide during its opening weekend, and according to the data released by Deadline, it already covered the production and marketing costs of $ 511 million. It is an incredible record, and therefore it is no wonder that the Marvel Cinematic Universe is destined to continue to dominate the film market in the future (once reopened). After grossing $ 614.3 million in China - making it the largest American title in the history of the eastern country - Disney only recovered 25% (153.5 million dollars) for the rules there. In conclusion, however, Avengers: Endgame ultimately, it earned $ 2.779 billion worldwide, adding up around $ 1.8 billion in theaters and home entertainment and TV revenues, instead, of $ 1.778 billion. Unfortunately, merchandising revenues have not been revealed. Despite this, the net profit ended up being an incredible 890 million dollars. The 78% more than the $ 500 billion of Avengers: Infinity War , a number that no one could ever possibly imagine. It should be noted that Robert Downey Jr. , in addition to having received 20 million in advance as a cachet, took another 55 million in the back-end, or the profits generated by the exploitation of the cinematographic work in all markets. Another Avengers movie is inevitable, although there is no trace of it in Phase 4, because the studio most likely wants to create expectation.