Blitz

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The worst thing is the over-smart plot that makes no logic at all. I won't add more on this subject.

First of all a gay detective relates a story to his colleague of how despite the greatest effort of his force they couldn't convict a serial paedophile because " we couldn't catch him in the act and the kids were too traumatised to identify them " Hmmmm might it not be a good idea to use forensics for example ? Instead of that the gay detective goes round to the paedos house to give him a good beating to the genitals . Yeah sure you did . Maybe he did and that's why the paedo got off with it - police brutality during an arrest . I guess this scene was included so we'd feel sympathy for the coppers but there's something bizarrely not right with this scenePaddy Considine is fine as Stratam's superior. Interesting to see the inclusion of this homosexual character where his sexuality has nothing in particular to do with the plot; he isn't a victim, there is no mincing, no angst he is just a straight (as it were) gay man. Very, very few incidentally gay people on the big screen.

The film's script was written by Nathan Parker. The film was shot in London in August 2010. [4] Blitz was the first film produced by Lionsgate UK. [5] Reception [ edit ] The film also shows the weakness of the British legal system, quite similar to that of ours. When Weiss is finally apprehended, they must let him go. Yet our hero and his commanding officer take bitter revenge. It goes to show you that police rightfully have the last word. a b c Gabbatt, Adam (20 May 2015). "Jason Statham: our last action hero (50 million Facebook fans can't be wrong)". The Guardian. ISSN 0261-3077 . Retrieved 9 January 2018.An article by Times Higher Education reported that Manchester University Press commissioned an academic study analysing the impact Statham has had on the British and American film industries from his debut in 1998 to 2018. According to the article, professors Steven Gerrard and Robert Shail are looking to show "the changing face of British cinematic masculinity" into "one that embraces cinema across a wide range of projects, but one that also uses cross-textual media in his output". [3] In popular media