If you've never seen a British gangster film where the hardest criminals break into impromptu karaoke sessions and spend more time planning weddings than pulling heists, then Love, Honour and Obey (2000) might just blow your mind—or leave you completely baffled. Directed by Dominic Anciano and Ray Burdis, this mock-crime comedy starring Jude Law, Ray Winstone, and Jonny Lee Miller is the kind of film that splits audiences right down the middle.
The premise? A North London postman gets mixed up with his childhood friend's gangster uncle, only to discover that real criminal life is far less glamorous—and far more ridiculous—than he imagined. Think of it as what might happen if Guy Ritchie decided to make The Office but with guns and considerably more singing.
Storyline & Plot
At its core, Love, Honour and Obey follows Jonny (Jonny Lee Miller), a bored courier who convinces his old school friend Jude (Jude Law) to introduce him to Uncle Ray (Ray Winstone), supposedly "the biggest gangster in London." What Jonny expects to be a world of high-stakes crime and violent excitement turns out to be something far more mundane—a group of middle-aged men more concerned with Ray's upcoming wedding to soap star wife Sadie (Sadie Frost) than any serious criminal enterprise.
The film deliberately subverts every gangster movie trope you've ever seen. Instead of methodical heists, we get botched credit card scams. Instead of intimidating mob meetings, we get karaoke nights. The narrative style feels intentionally improvised and documentary-like, with frequent fade-outs between scenes that give it the feel of a home movie—which, according to many critics, might have been exactly the point.
The story becomes more serious when Jonny, frustrated by the gang's lack of ambition, starts trying to provoke a war with a South London crew led by Sean Pertwee's character. This is where the film's tone shifts from pure farce into something darker, though it never fully commits to either comedy or drama. The result is a film that feels deliberately unbalanced, like it's constantly pulling the rug out from under your expectations.
Characters & Cast
Jonny Lee Miller delivers what many consider the film's strongest performance as Jonny, the wannabe gangster whose increasing desperation and violence provide the story's driving force. Miller manages to make Jonny both pathetic and genuinely menacing—no easy feat when you're surrounded by actors who seem to be having a laugh.
Ray Winstone plays against type as Ray Kreed, a gangster more interested in his marital problems and karaoke nights than running a proper criminal empire. Winstone brings his usual gravitas to the role, but here it's used for comedic effect as he struggles with erectile dysfunction and wedding planning. It's either brilliant casting or complete misuse of his talents, depending on your perspective.
Jude Law appears almost like he's doing a favor for friends, which, given the film's origins with London's "Primrose Hill set," might literally be the case. His Jude is the reluctant go-between, trying to keep his childhood friend from destroying his family relationships. Law brings his natural charm to the role, though he seems somewhat detached from the proceedings.
Sean Pertwee steals several scenes as the South London gang leader, particularly in a memorable sequence where he and Trevor Laird sing the theme from Fireball XL5. Pertwee understands the film's satirical tone better than most of the cast and leans into it completely.
The supporting cast, including Sadie Frost, Kathy Burke, and Rhys Ifans, seem to be improvising their way through most scenes. Whether this adds to the film's authentic feel or makes it feel like an amateur production depends entirely on your tolerance for self-indulgent filmmaking.
Direction & Style
Anciano and Burdis direct with a deliberately rough, documentary-style approach that divides critics and audiences. Shot on 16mm, the film has the gritty, handheld feel of a Ken Loach social realism piece, which creates a fascinating tension with its increasingly absurd content. The frequent fade-outs between scenes give it an episodic structure that some find innovative and others find annoyingly amateurish.
The pacing is deliberately uneven—scenes of genuine tension are followed by extended comic interludes that kill any momentum the film might have built. This isn't necessarily a flaw; it seems intentional, as if the directors are trying to frustrate audience expectations about how a gangster film should work. Compared to slick contemporaries like Lock, Stock and Two Smoking Barrels, this feels like the anti-Guy Ritchie film—all the violence and none of the style.
Cinematography, Music & Technical Aspects
The cinematography perfectly captures the unglamorous reality of North London criminal life. These aren't the stylized, neon-lit criminals of Hollywood; they're middle-aged men in tracksuits who live in ordinary flats and drive beaten-up cars. The camera work feels authentic to the point of being mundane, which serves the film's satirical purposes.
The real standout is the music—specifically, the karaoke sequences that punctuate the film. The use of "Avenues and Alleyways" (the theme from The Protectors) becomes a recurring motif, sung both at the beginning and end of the film with completely different emotional weight. The Fireball XL5 sequence is genuinely hilarious and shows what the film might have been if it had fully committed to its comedic vision.
The technical aspects are deliberately rough around the edges. This isn't incompetence—it's a conscious choice to make everything feel as unglamorous and ordinary as possible. Whether you find this refreshing or irritating will largely determine your response to the film as a whole.
Audience Appeal
Here's where things get interesting: the film has a 33% critics' score but an 86% audience score on Rotten Tomatoes, suggesting a massive disconnect between professional reviewers and regular viewers. If you're someone who enjoys films that deliberately subvert genre expectations, or if you have a high tolerance for British humor and improvised performances, you might find Love, Honour and Obey surprisingly entertaining.
The film works best for viewers who understand it's a deliberate parody of British gangster films rather than an attempt to make a straight crime movie. If you enjoyed This Is Spinal Tap or The Office, you might appreciate this film's commitment to making its characters look foolish and ordinary rather than cool and intimidating.
However, if you're looking for the stylized violence and clever plotting of Snatch or Layer Cake, you'll probably find this frustrating and pointless. The film requires you to be in on the joke, and if you're not, it's going to feel like a waste of time.
Overall Impression
Love, Honour and Obey is definitely not for everyone. Critics dismissed it as self-indulgent nonsense made by friends for their own amusement, and there's some truth to that accusation. The film does feel like an inside joke that not everyone is invited to share.
But here's the thing—when it works, it really works. The karaoke sequences are genuinely funny, the performances from Miller and Pertwee are committed and entertaining, and there's something refreshing about a gangster film that refuses to glamorize criminal life. The film's greatest strength is its willingness to make its characters look pathetic and ordinary rather than cool and dangerous.
The main weakness is its length and uneven tone. At 103 minutes, the film definitely outstays its welcome, and the constant shifts between comedy and violence never quite gel into a coherent whole. It's the kind of film that works better in individual scenes than as a complete narrative.
Verdict / Rating
7/10
This is a must-watch if you enjoy films that deliberately subvert genre expectations, British humor that doesn't mind making everyone look foolish, and gangster movies that refuse to glamorize criminal life. Just don't expect it to make complete sense, and be prepared for a film that's more interested in making you think than making you comfortable.
