Guy Ritchie's versatility over the last four years—banging out a traditional Ritchie-esque Brit-gangster film (THE GENTLEMEN), a brutal 70s-style crime thriller (WRATH OF MAN), a Bond-adjacent spy-comedy (OPERATION FORTUNE: RUSE DE GUERRE), and a deadly earnest war movie (THE COVENANT)—is kind of wild. Maybe the most interesting director working at the moment.
One thing that I haven't seen remarked enough upon: in all of these movies, Ritchie teams with Christopher Benstead on the music, and Benstead's scores have been absolutely spectacular. THE COVENANT is no exception: the double bass/cello/whatever deep-ass strings he's working with set a hook right in your guts. It gives the whole thing an almost tangible heft to go along with the moral predicament tackled by the picture (namely,...