I don’t know if is worthy to be called as one of the best crime films ever made, but is definitely one of the best, most inventive, self-creating stylized nature, gut-busting hilarious comedies ever made! It may lack the more sophisticated touch and the acquired level of simplicity that helped bringing out the outrageous wild violent, zany and gut-busting hilarious nature that found bright in its unique style back in Lock, Stock and Two Smoking Barrels, the moment in his career you could’ve easily called Guy Ritchie an author! But in Snatch, this was him taking his game to a expansive level and just having a heck of a fun time bringing a bunch of A-list actors into a unique cast and play around with them inside a ludicrously intrinsic plot.

A gangster films that barely carries anything that mears any sense close to a plot, rather it would be better defined as a doped-high-frantic hang-out comedy thriller that’s as amusing as far smarter than anyone would give the credit. About losers trying to be gangsters, and big mob bosses showing themselves as deranged lunatics, losers of their own bad nature, amidst a few badass experts, whom also are pretty nut-case deranged psychos; but all carrying that real sense of individual humanity that Ritchie learned so well from Tarantino and made his own version sharp-detailed mundane dialogue and picturesque characterizations that are as unpredictable as they are immensely enjoyable, exploring all the best he can draw from the actors on scene. Just by the introduction, we’ve immediately recorded all of their names and get pumped ready to accompanied them on this crazy and wild adventure.

Pitt as Mickey spares compliments, I barely understood a word he says and I still love every single second he showed up on scene, either bursting me out on laughter or juicing straight out excitement in his arguably best boxing-fight scenes where Fight Club don’t even gets near on topping; Statham acting is better than one give credit and his irony cracks me up every time, so much so that makes you miss the days he and Ritchie were best mates and doing all films together; Vinnie Jones (my spirit animal after 2020) is all a marvel to behold; Alan Ford's Brick Top is one of the scummiest son of bitches I've seen in any film ever, and you love him for it; and pretty much everyone else has plenty of enough time to show their amusing talents to leaving you cracking in laughter, being all deservers of their own solo films. All outrageously stupid and cartoonish retarder as brute violent despicable men, but you love every single one of them!

And just as Tarantino, and on Ritchie’s early pursues to be a next-Tarantino British type on mainstream, he pulls off his own little version of intersected storylines , but again, taken his complete own spin into it mixing up with that typical Scorsese off-narration masterclass of the criminal underworld, which Statham basically was born to do. But outside the tragedy of their faiths that you could expect on a film like this, Snatch is film where any plans go accordingly, but everything the characters want goes into their favor, one way or another, at certain point, even amidst some tragic circumstances. That in the cost of benefit of one over another while their paths intersect in the midst of the different timelines-events with different characters with their own stories, intersecting in ways as hilarious as insanely coincidentally stupid that gets to be rather brilliant for the level of precise orchestration that Ritchie manages to pull off.

Just for you to see that this isn’t just a empty sack of jokes lists to be pinpointed on the screen, is rather real superb craftsmanship to lead every single little piece to fall in place on creating this harmonious chaos with chances and pure luck deciding faiths from each of its players, and the violent results are as hilariously unexpected as movingly thrilling in a film that barely ever stops to bread, either for throwing us more plot and action to unfold or to leave us breeding from the last wave of laughter that we were just having in the previous scene, and so on, where the editing is relentless but somehow incredibly cohesive, and the camera work a living moving animal of style and excruciating attention to detail. And the bloody mcguffin is a dag that swallows everything he sees on sight, how can’t that be precious?!

Because Snatch was the crime gangster genre getting a whole spin of style experimentation with narrative playfulness, creating such high entertainment value that it becomes utterly impossible to look down on it. Arguably his best or not, specially compared with Lock, Stock, but they clearly are the epitome of what you could expect of Ritchie at his height pic best in creating his own identity that would spread above just the gangster genre, and perpetuate within mainstream cinema to this day. Still showcasing here a way to sustain high-style identity as an amusing form of storytelling and character creation, that never unhooks your attention and instantly conquers your heart, long enough to see yourself trying to write this with a British accent resounding in your head. Oh and that’s another thing, Ritchie made the British-accent English internationally cool, so take his films also as a big: YOU’RE WELCOME.