Tom Hardy

I’m about to give away the opening scene of the latest gangsters-are-cool drama MobLand. Don’t worry. It won’t spoil anything. By the end of this review you won’t want to watch even a moment of this dog’s breakfast of an atrocity of charmless, witless, misbegotten, amoral tripe anyway. So we’re in a basement with Tom Hardy, playing his usual amiably ruthless hard-man character. This time he’s called Harry Da Souza and he’s the chief fixer for a London-based Irish crime family called the Harrigans. On this occasion, Da Souza is mediating between two lower-tier rival gangs, whom he has orders to make apologise to one another. After much tense negotiation, the gang leaders agree to shake hands but refuse to apologise.

Last year, I wrote a feature for this magazine in which, disturbed by the apparent revival in the British gangster genre, I counseled a degree of caution as to its practitioners’ apparent lack of discernment in their approach to the tropes and clichés of the tradition. “We will be left," I concluded, "with the cinematic equivalent of bald men fighting over a comb: a boot, stamping on a human face for all eternity, while someone calls someone else ‘a slag.’ It is not, perhaps, the most enticing of prospects.” If the Guy Ritchie-Tom Hardy collaboration MobLand is not as hideous a creation as this suggests, it is also something of a disappointment given the cast and creative talent involved.

Jeff Nichols’s The Bikeriders is based on the book by photojournalist Danny Lyon, first published in 1968, about his years embedded with a lawless motorcycle gang in Chicago. Nichols (Take Shelter, Mud, Loving) has imposed a fictional narrative arc and while it’s bogus in some respects and the arc quite familiar to anyone acquainted with stories about male subcultures – the fatal flaw of loyalty etc – it is well-crafted, stylish, has some potent scenes and a fantastic cast. The film stars Tom Hardy, Austin Butler and Jodie Comer, who manages to wipe the floor with both of them.