--- title: "Snatch" year: 2000 kind: "film" canonical: "https://film.one/film/snatch" fi1m_id: "snatch" imdb_id: "tt0208092" tmdb_id: 107 wikidata_id: "Q335160" fi1m_score: 74 critics_score: 63 critics_reviews: 13 published: "2026-09-14" updated: "2026-10-06T12:12:42.348901+00:00" region: "EC" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Snatch (2000) Directed by Guy Ritchie · 1h 43m · Crime, Comedy ## Identity Snatch - **Canonical:** https://film.one/film/snatch - **Type:** Film - **Fi1m ID:** snatch - **IMDb ID:** tt0208092 - **TMDB ID:** 107 - **Wikidata ID:** Q335160 - **Same entity:** https://www.imdb.com/title/tt0208092/, https://www.themoviedb.org/movie/107, https://www.wikidata.org/wiki/Q335160 **Fi1m score: 74** · Critics 63 from 13 reviews *In a sentence:* Alan Ford makes organised crime sound like a job with appalling customer service > Guy Ritchie’s *Snatch* is a brisk, funny crime comedy carried by a well-chosen cast. The plotting keeps us entertained, though the ethnic caricatures and recycled gangland swagger put a limit on the pleasure. ## Synopsis Guy Ritchie’s crime comedy follows overlapping underworld dealings involving bare-knuckle boxing and a diamond. Jason Statham plays Turkish, alongside Stephen Graham as Tommy and Alan Ford as Brick Top. Brad Pitt plays Mickey O’Neil, a bare-knuckle boxer, while Benicio del Toro is Franky Four Fingers. Dennis Farina appears as Avi, Rade Šerbedžija as Boris The Blade and Vinnie Jones as Bullet Tooth Tony. Their encounters unfold through a plot of criminal schemes, banter and violence, as the film moves between members of an ensemble with competing interests. ## Review *Snatch* is a good crime comedy with a troublesome habit of enjoying its own cleverness. Guy Ritchie packs his underworld with people who talk confidently and give us ample reason to doubt them, then keeps their dealings moving quickly enough to sustain the joke. The pleasure comes from watching that confidence survive one complication after another. We need to enjoy the company, because there is not much here to persuade us to care about anyone. Jason Statham gives Turkish the relatively level delivery this crowded film needs, letting the surrounding performances grow louder without competing for every laugh. Stephen Graham’s Tommy makes useful comic company, but Alan Ford’s Brick Top is the stronger reason to stay. We laughed at Ford’s delivery of the gangland banter, then felt slightly uncomfortable about how easily he had won us over. His matter-of-fact manner allows the threat to register without stopping the comedy for an announcement. Brad Pitt brings a welcome unpredictability to Mickey O’Neil, the bare-knuckle boxer. So many of these characters seem ready to deliver their allotted joke that his looseness makes a difference: he gives us someone worth watching even when he is not speaking. Ritchie sometimes appears to think a memorable nickname will do most of the work of creating a person. Pitt provides enough presence to make that shortcut less noticeable. Tim Maurice-Jones’s cinematography gives the gangsters a comic-strip boldness that suits their exaggerated self-importance. The showiness can grow tiring, but it belongs to the same film as these performances, and Ritchie knows how to make a visual flourish serve a joke. Jon Harris’s cross-cutting does more of the essential work, giving the overlapping dealings a rhythm we can follow. He moves between strands with enough assurance that the complicated plotting keeps producing laughs. Hugo Luczyc-Wyhowski’s production design helps keep this underworld cheerfully unreal, which works for the farce. It does less to suggest that anybody has a life beyond the next criminal transaction, a limitation shared by the script. John Murphy’s music adds another push to the pace, although the cutting hardly needs encouragement. We would have welcomed a little more quiet around some of the dialogue; the cast can hold our attention without quite so much assistance. The writing is where our reservations become harder to overlook. Ritchie’s ethnic caricatures are lazy, and the film repeatedly asks a recognisable type to stand in for a developed character. There is enough wit in the dialogue to make that unnecessary, which makes it more frustrating when an easy stereotype gets the laugh. The banter also grows mannered in places, with too many people sounding pleased by the shape of their own sentences before they have finished saying them. Against [*Lock, Stock and Two Smoking Barrels*](https://film.one/film/lock-stock-and-two-smoking-barrels), this is a familiar set of pleasures, and Ritchie has done little to change the formula. The stronger performances justify another visit even when the writing does not supply much surprise. At 103 minutes, *Snatch* is brisk enough to keep that familiarity from becoming a serious burden. If Ritchie’s talkative gangsters already wear you out, though, adding Brad Pitt is unlikely to cure it. *Fi1m score 74, published 14 September 2026.* ## What the critics say Most critics find Snatch an entertaining crime comedy, though enthusiasm is far from unanimous. Praise centres on Guy Ritchie’s energetic direction, tangled plotting and comic dialogue, with Brad Pitt the most consistently admired performer and Jason Statham and Alan Ford also earning notice. The favourable reviews enjoy the ensemble and gangland absurdity; even several sceptics acknowledge Pitt’s contribution or the energy of the filmmaking. The main division is over how much Ritchie’s return to the Lock, Stock and Two Smoking Barrels formula delivers. Some find a sharper, more assured entertainment; others find repetition, predictable characters and camera tricks that have lost their surprise. The spread is wide: Variety considers the writing improved and the cast more evenly matched, while Sight and Sound finds weak writing and little pacing or purpose. The Guardian’s otherwise favourable assessment also objects to ethnic caricatures and feeble satire. ## Straight answers **Is Snatch worth watching?** *Snatch* is worth watching for anyone who enjoys fast, talkative crime comedy, and we scored it 74. Alan Ford and Brad Pitt are the strongest reasons to stay, and Jon Harris's cutting keeps the overlapping schemes easy to follow. The lazy ethnic caricatures and mannered banter hold it back, and if Guy Ritchie's gangsters already tire you, this will not change your mind. **How long is Snatch, and what is it rated?** *Snatch* runs 1h 43m. It is a crime and comedy film. **Where can I watch Snatch in Ecuador?** *Snatch* is streaming on HBO Max in Ecuador. Availability is checked daily; the links above go straight to each service. **How violent or frightening is Snatch, and is it suitable for children?** *Snatch* is a 15 certificate in the UK and R-rated in the US, and it is not suitable for children. The violence sits inside a comic-strip underworld of bare-knuckle boxing and criminal threats, played for laughs rather than dread, so it is more brutal than frightening. The swearing and the casual menace, especially from Alan Ford's Brick Top, make it one for older teenagers and adults. **How does Snatch compare to A Fish Called Wanda?** *Snatch* is the louder and more crowded film, while [*A Fish Called Wanda*](https://film.one/film/a-fish-called-wanda) is the more tightly timed of the two. Both follow criminal ensembles whose confidence outruns their competence, but Charles Crichton's farce builds its comedy from the cast irritating one another, and its jokes land with more precision. Ritchie offers pace and swagger; Crichton offers the better-made comedy, and we would send a newcomer to it first. **What should I watch after Snatch?** After *Snatch*, try [*The Ladykillers*](https://film.one/film/the-ladykillers) (1955, Fi1m 86): A criminal ensemble undone by vanity, with quieter performances and equally poor judgement. Then [*A Fish Called Wanda*](https://film.one/film/a-fish-called-wanda) (1988, Fi1m 83): Another criminal ensemble whose confidence exceeds its competence, with beautifully timed mutual irritation; and [*The Mission*](https://film.one/film/the-mission-1986) (1986, Fi1m 64): Try this for gangland camaraderie, dry humour and a welcome reduction in chatter. ### Reviews we read (13) - **Variety**, Derek Elley (85/100, inferred): Elley praises Ritchie for blowing away the sophomore curse with a less flashy but better written and more evenly cast crime seriocomedy that is lighter in tone, cleverly plotted, and entertaining with strong ensemble performances. [Read](https://variety.com/2000/film/reviews/snatch-1200464170/) - **Time Out**, WH (80/100, inferred): Ritchie's follow-up is an even more craftily concocted underworld entertainment, with Pitt's casting as the bare-knuckle boxer adding significantly to its appeal. The comic tone is risqué and confident, balanced by showman's bravado, neat reversals and hyperbolic buffoonery. [Read](https://www.timeout.com/movies/snatch) - **The New York Times**, Elvis Mitchell (75/100, inferred): Mitchell calls the film a spicy, hyper-real comic strip that seizes British gangster machismo with action ferocity and comic potential, giving it a bit more emotional weight while retaining entertaining swagger as everything clicks by the end. [Read](https://www.nytimes.com/2001/01/19/movies/film-review-man-all-they-wanted-was-to-go-buy-a-trailer.html) - **Empire**, Andrew Collins (70/100, inferred): The critic finds Snatch entertaining but too similar to Lock, Stock and Two Smoking Barrels, essentially a remix rather than a fresh follow-up. He praises the performances, especially by Jason Statham, Alan Ford, and Brad Pitt. [Read](https://www.empireonline.com/movies/reviews/snatch-review/) - **Screen Daily** (70/100, inferred): Writer-director Guy Ritchie serves up a canny rehash of the ingredients from Lock, Stock, adding bigger budget and star names to the tried formula of dodgy dealings and articulate gangland characters. It delivers cocky banter and bloodshed that admirers will expect, with Pitt good value. [Read](https://www.screendaily.com/snatch/403380.article) - **The Guardian**, Andrew Pulver (70/100, inferred): The critic praises Ritchie's frenetic plotting, cross-cutting and stylistic flourishes, along with strong turns from Jason Statham and Brad Pitt. He criticises the film's reliance on ethnic caricatures and feeble satire. [Read](https://www.theguardian.com/film/News_Story/Critic_Review/Guardian_review/0,,362373,00.html) - **Los Angeles Times**, Kenneth Turan (65/100, inferred): Turan finds the film a brisk, cheerfully amoral entertainment with complex plotting, colorful characters, and breezy dialogue, but it lacks the surprise of Ritchie's debut due to familiarity, though it remains a lethal diversion. [Read](https://www.latimes.com/archives/la-xpm-2000-dec-06-ca-61695-story.html) - **Radio Times**, Lorien Haynes (3/5): Guy Ritchie replicates the formula of Lock, Stock without enough variation, resulting in a plot that feels like more of the same despite a talented cast including Brad Pitt and Benicio Del Toro. Ritchie directs well but should have left the writing to someone else. [Read](https://www.radiotimes.com/movie-guide/b-trgevr/snatch/) - **RogerEbert.com**, Roger Ebert (40/100, inferred): Ebert finds the film slavishly follows the Lock, Stock formula with a perverse plot and cartoonish characters, making it hard to care about anyone or find a through line despite energetic direction and some witty dialogue. [Read](https://www.rogerebert.com/reviews/snatch-2001) - **Sight and Sound**, Xan Brooks (30/100, inferred): The critic finds Snatch a gaudy mess that feels made up as it goes along, with little pacing or purpose despite its ambitious multiculturalism and flashy style. Brad Pitt's performance stands out as the most convincing element amid stereotypes and weak writing. [Read](http://old.bfi.org.uk/sightandsound/review/506) - **The AV Club**, Nathan Rabin (30/100, inferred): The critic views Snatch as an extended, self-parodic homage to Lock, Stock and Two Smoking Barrels that adds American stars but loses the original's spark. The stylized banter feels mannered and the stylistic overkill becomes oppressive and desperate. [Read](https://www.avclub.com/snatch-1798192551) - **Collider**, Jeffrey Speicher (A): Snatch is a rollicking good time that is never meant to be taken too seriously and is very aware of what it wants to be. It’s a well-shot, well-directed and well-acted piece that showcases the considerable talents of Alan Ford as Brick Top and benefits from accentuating Pitt’s weighty presence, though a niftier resolution to the fate of the diamond is penalized. [Read](https://collider.com/snatch-review-guy-ritchie/) - **Eye for Film**, Angus Wolfe Murray (50/100, inferred): The critic finds Snatch more of the same as Lock Stock, over the top but not feeling fresh the second time around. They single out the predictability of characters and camera tricks as less clever on rerun, while noting Brad Pitt brings a different energy. [Read](https://www.eyeforfilm.co.uk/review/snatch-film-review-by-angus-wolfe-murray) ## Details - **Director:** Guy Ritchie - **Director:** Guy Ritchie - **Writer:** Guy Ritchie - **Cinematography:** Tim Maurice-Jones - **Editor:** Jon Harris - **Music:** John Murphy, Noel Gallagher - **Production design:** Hugo Luczyc-Wyhowski - **Costume design:** Verity Hawkes - **Producer:** Matthew Vaughn - **Cast:** Jason Statham as Turkish; Alan Ford as Brick Top; Stephen Graham as Tommy; Brad Pitt as Mickey O'Neil; Dennis Farina as Avi; Robbie Gee as Vinny; Lennie James as Sol; Benicio del Toro as Franky Four Fingers - **Runtime:** 1h 43m - **First release (the UK):** 23 August 2000 - **Genres:** Crime, Comedy - **Budget:** $100 million - **Box office:** $84 million - **Trailer:** https://www.youtube.com/watch?v=ni4tEtuTccc ## Where to watch in Ecuador - HBO Max: streaming *Checked 2026-09-14.* Also available in: AR, AT, AU, BE, BR, CA, CH, CL, CO, CZ, DE, DK, EC, ES, FI, FR, GB, IE, IL, IT, MX, NL, NO, NZ, PA, PE, PL, PT, RO, SE, TR, US. Add `?region=XX` to this URL for another country. ## If you liked this - *The Ladykillers* (1955), Fi1m 86: A criminal ensemble undone by vanity, with quieter performances and equally poor judgement. — [Fi1m page](https://film.one/film/the-ladykillers.md) - *Big Deal on Madonna Street* (1958): Petty criminals attempt more than they can manage, with greater affection for failure. - *A Fish Called Wanda* (1988), Fi1m 83: Another criminal ensemble whose confidence exceeds its competence, with beautifully timed mutual irritation. — [Fi1m page](https://film.one/film/a-fish-called-wanda.md) - *The Mission* (1986), Fi1m 64: Try this for gangland camaraderie, dry humour and a welcome reduction in chatter. — [Fi1m page](https://film.one/film/the-mission-1986.md) - *In Bruges* (2008), Fi1m 83: The criminal conversations are funny, but the consequences are considerably harder to shrug off. — [Fi1m page](https://film.one/film/in-bruges.md) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/snatch