No smoking guns here as Mob land falls very flat .
Mob Land undoubtedly cements Tom Hardy as one of the greatest actors of our time. His commanding presence on screen is astounding, delivering a masterclass in acting that is, unfortunately, the only real highlight of Guy Ritchie’s Mob Land.
As a long-time admirer of Ritchie’s work, it’s difficult to understand what he was aiming for with this series . Mob Landbrings nothing particularly new to the table. It feels as though Ritchie watched Gangs of London and thought, “I should have done that.” Ironically, Gangs of London was likely influenced by Ritchie’s own early work, Lock, Stock and Two Smoking Barrels and Snatch—films that helped define the modern British gangster genre. However, Mob Land lacks the freshness, wit, and compelling storytelling that made those earlier films so iconic.
Tom Hardy is the film’s saving grace, but even his powerful performance cannot elevate the series beyond mediocrity. The rest of the star-studded cast delivers disappointingly lackluster performances, making for an underwhelming experience. Pierce Brosnan, despite being Irish, sounds as though he is forcing his accent rather than naturally embodying it. He brings no depth or nuance to his role as Conrad Harrigan, the ruthless patriarch of the crime family, and at times, his attempts to instill fear in his character come across as unintentionally laughable.
Even more disappointing is the legendary Helen Mirren, who plays Maeve Harrigan. Her exaggerated accent seems to have been plucked straight from Father Ted’s Mrs. Doyle, and her chemistry with Brosnan is virtually nonexistent. The two share as much on-screen rapport as Donald Trump and Volodymyr Zelensky—awkward, strained, and completely unconvincing. The rest of the family members are equally miscast, leaving audiences struggling to form any emotional connection with them. Rather than being immersed in their struggles and conflicts, viewers are left wondering if the cast were simply Ritchie’s friends having a casual get-together rather than dedicated actors committed to their roles.
Set in the dark underworld of London’s criminal elite, Mob Land follows the Harrigan crime family, once a formidable empire now teetering on the brink of collapse. Conrad Harrigan (Pierce Brosnan), the aging patriarch, is desperate to maintain his grip on the city’s illicit activities while facing threats from younger, more ruthless up-and-comers. His wife, Maeve (Helen Mirren), is the matriarch who attempts to hold the family together through sheer force of will, though her influence is waning.
Their eldest son, Michael Harrigan, is expected to inherit the family business, but his lack of cunning and charisma makes him an unfit successor. Meanwhile, his younger brother, Sean (a brooding but ultimately forgettable presence), wrestles with the moral implications of the life he’s been born into. As internal family tensions rise, external threats loom ever closer.
Enter Tom Hardy as James “Jimmy” Callahan, a former enforcer for the Harrigans who has spent the past decade trying to escape his violent past. Haunted by his past actions, Jimmy is reluctantly pulled back into the fray when his younger brother, Danny, finds himself in the crosshairs of both the Harrigans and a rival gang. Jimmy’s return sets off a chain of events that pits old loyalties against new betrayals, forcing him to navigate a treacherous landscape where trust is a commodity in short supply.
The series attempts to explore themes of legacy, loyalty, and redemption, but it never quite commits to any of them in a meaningful way. The narrative meanders through predictable plot points, offering nothing particularly innovative or engaging. The action sequences, while well-choreographed, feel like recycled versions of better-executed scenes from Ritchie’s earlier works. Mob Land lacks the sharp dialogue, snappy pacing, and dynamic storytelling that made films like Snatch and The Gentlemen so enjoyable.
Ultimately, Mob Land is a series that suffers from a lack of originality, uninspired performances (aside from Hardy), and a script that fails to live up to its potential. The story is neither gripping nor emotionally resonant, leaving viewers indifferent to the fates of its characters. What you find yourself longing for throughout the series is a return to Hardy’s scenes—because only then does Mob Land show any real spark of life.
In the end, Mob Land feels more like a missed opportunity than a worthy addition to Ritchie’s filmography. Fans of the director’s earlier work will likely walk away disappointed, wondering what could have been if the series had lived up to its promising premise.
2Shades Magazine 