In the world of British independent cinema, there is a long standing tradition of the "lad caper," a genre popularized by the likes of Guy Ritchie and Matthew Vaughn. Zak Fenning’s feature directorial debut, A Gangster’s Life (2026), attempts to plant its flag in this crowded territory. Produced by High Hopes Movie and distributed by Apple TV in the United Kingdom, the film follows a classic "out of their depth" premise. The story centers on Ant (Tony Cook) and Dick (Jonny Weldon), two small time scammers who make the monumental mistake of defrauding a ruthless London crime boss named Emery (Tomi May) out of £100,000.
What begins as a street level hustle quickly spirals into a life threatening predicament, forcing the duo to flee the rainy streets of London for the sun drenched, rural landscapes of Greece. The film officially premiered in London on January 9, 2026, and is scheduled for a wider digital release on January 19. At a lean 93 minutes, the movie promises a high energy ride through the criminal underworld, but as we will see, having "high hopes" for the production value might lead to some disappointment.
Story and Screenplay: A Tonal Tug of War
The screenplay, penned by Roy Rivett, sets up a narrative that should be fertile ground for both tension and humor. The idea of arrogant, low level players being crushed by a system they do not understand is a staple of the genre. However, the actual execution of this script feels curiously weightless. The story follows Ant and Dick as they attempt to muddle through their debt by working for Emery’s brutal lieutenant, Clarkey (Bradley Turner), while navigating power struggles involving the ambitious Scarlett (Rina Lipa).
The biggest hurdle for the audience is the film’s refusal to commit to a single identity. At one moment, it attempts to be a "ruthless gangster story" with scenes of men being strung from ceilings; the next, it pivots to "childish jokes" about the names of the protagonists. This back and forth prevents any real sense of danger from taking root. Even when lives are supposedly on the line, the threats never seem to linger, and the violence often lacks emotional impact.
Furthermore, the narrative structure takes a "bold break" halfway through, moving the action to Greece to meet up with Ant’s girlfriend, Thea (Christina Gkioka). While this provides a nice change of scenery, it also leaves a lot of the film's initial pathos on the floor, effectively replacing certain characters and dynamics rather than evolving them. The script offers plenty of potential for comedy, such as awkward poolside dinner parties or the logistics of securing lamb in a foreign country, but the jokes simply do not arrive with enough frequency or timing to keep the momentum going.
Acting and Characters: A Mixed Bag of Talent
The film’s greatest asset is undoubtedly its lead duo. Tony Cook brings a self aware energy to Ant, even playfully referring to himself on social media as a "cheap version of Jason Statham". He carries the "long suffering" weight of the character well. His partner, Jonny Weldon, who recently impressed audiences in the Netflix adaptation of One Day, is an "amiable presence" here, though he is clearly working with material that is beneath his capabilities. Their natural chemistry and comic chops manage to salvage several scenes that would have otherwise fallen flat.
The supporting cast, however, is a different story. Rina Lipa makes an "eye catching" feature debut as the scheming Scarlett. She brings a restrained presence that avoids the caricatures found elsewhere in the film, though her limited screen time is a missed opportunity. Tomi May’s performance as the villainous Emery is hindered by the script’s tendency to "soften" him just when he should be most intimidating. The surrounding "underdeveloped support hoods" often contribute to the tonal confusion, with some acting being described as "not great," making it difficult to discern if specific moments were intended to be serious or accidental parodies.
Direction and Technical Aspects: Too Many Hats, Not Enough Polish
Zak Fenning is clearly a man of many talents, serving as the director, cinematographer, and editor for this project. While this level of commitment is impressive and likely helped stretch a limited budget, it appears he may have worn "one too many hats". There is an evident background in cinematography here; the film often looks quite nice, with polished lighting and interesting visual compositions. For example, a wide shot of a goon beating a victim while a gardener calmly clips a hedge in the distance shows a creative flair that goes beyond standard route one filming.
Unfortunately, the post production side of the house is where the film truly falters. The sound mix is poor and inconsistent, and the visual effects are a significant letdown. A final image intended to be "genuinely nasty" is unfortunately derailed by FX that some critics described as "risible". Because of these technical shortcomings, the movie often feels like a "TikTok parody" of more expensive blockbusters, lacking the resources to bring its ambitious vision to the screen successfully. The pacing also suffers, as many scenes could have been tighter to help build the tension that a crime film desperately needs.
Trailer A Gangster’s Life (2026)
Music and Atmosphere: Surface Level Cool
The atmosphere of A Gangster’s Life is one of "surface level cool". It leans heavily into the tropes of the modern British crime flick, utilizing fast cuts and penetrating dialogue. There is a clear "love letter to Brit cinema" buried in here, exemplified by a "fun nod to a Bond title sequence" that includes, of all things, goats. This quirkiness provides moments of charm, but the overall mood is undermined by the realization that the people making the film were often having too much fun.
The inclusion of bloopers during the end credits reveals a cast that was "creasing up" in what were supposed to be dramatic scenes. While it is nice that everyone had a wonderful time, it raises the question of how the audience is supposed to take the serious moments seriously when the filmmakers themselves could not. The result is a "bullet riddled sitcom" atmosphere where the stakes never feel real because the "criminal world on display feels more theatrical than threatening".
Strengths and Weaknesses
Strengths:
- Leading Man Chemistry: The central pairing of Tony Cook and Jonny Weldon is the movie’s strongest element, providing a watchable and endearingly "out of their depth" dynamic.
- Visual Ambition: Zak Fenning’s eye for cinematography results in some surprisingly lovely wide shots and polished framing that punches above its weight class.
- Location Work: The use of locations in Kent, Crete, and Greece adds a layer of visual interest and a "nice setting" for the second half of the film.
- Genre Affection: There is a palpable, "charming" love for British crime cinema and its history visible in various nods and stylistic choices.
Weaknesses:
- Technical Execution: Poor sound mixing and "risible" visual effects consistently pull the viewer out of the experience.
- Tonal Inconsistency: The jarring shifts between "childish jokes" and "ruthless gangster" moments prevent any tension from building.
- Lack of Stakes: The film struggles to convince the audience that there are any real consequences for the characters, making the criminal world feel "safe" and "rehearsed".
- Derivative Script: The writing often relies on imitation of films like Lock Stock or Sexy Beast without capturing the "connective tissue" that gives those stories weight.
Final Verdict: An Entertaining But Hollow Caper
Rating: 2/5 stars
A Gangster’s Life is a film that wants to be "cool" more than it wants to be "honest". While it is not without entertainment value—it moves quickly, looks decent, and offers flashes of genuine personality—it ultimately fails to dig deep enough to justify its own ambitions. It exists in a strange middle ground where it is "breezy and brutal at the same time" but never allows either side to dominate, leaving the final product feeling "strangely hollow".
Fans of British "lad" culture and those who follow the rising careers of Tony Cook and Jonny Weldon may find enough here to warrant a casual watch on a rainy afternoon. It serves as a showcase for the "potential" of its cast and crew, even if that potential is not fully realized in this specific outing. However, viewers looking for a tightly plotted crime thriller with real stakes, polished post production, or a cohesive vision will likely find themselves disappointed by the "amateurish" quirks and technical lapses.
Recommendation: This is one for the genre completists or those looking for "gangland japes on a shoestring". It is a "fun" but flawed debut that suggests a lot is "bubbling away in the wood chipper" for the future, even if this particular ride is a bit bumpy. Keep your expectations grounded, and you might enjoy the "Dick" jokes and the Greek scenery, but do not expect the next Snatch.
 Movie Review: A Low-Budget Caper That Struggles to Escape the Shadow of Its More Expensive Influences){kind=link}
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