Green Street Hooligans: Critic Reviews

A feature-length folly about the terrors and self-affirming joys of football (that is, soccer) hooliganism.

Soccer needs this movie like Georgia needed Deliverance.

Unfortunately, the beatings are often more interesting than what's caused them.

Hooligans loses the plot late though -- in the filmic and Brit-speak sense -- revealing Hollywood, not hooligan, roots.

Hooligans delivers two main points - that family is where you find it, and that violence can be as intoxicating, to some, as a drug.

The message is that violence is hard-wired into men, if only the connection is made.

This is Fight Club without the irony or the metaphysical gaming.

The script is a jumble of caricatures and cliches.

It's what you thought Fight Club was going to be, before it went in a whole other (and far more interesting) direction.

Pic amply demonstrates that Alexander -- director of Johnny Flynton, 2003 Oscar nominee for dramatic short -- has the chops to bring a fresh take to onscreen rough stuff.

Director and co-writer Lexi Alexander choreographs the fight scenes with thrilling chaos, and the plot unfolds expertly if melodramatically.

Viewers hoping to understand the senseless phenomenon of football hooliganism would do better to rent Alan Clarke's nearly 20-year-old The Firm.

The steady diet of brutal street fighting makes it all but impossible to connect with this picture, despite whatever visceral appeal it may offer.

Hunnam e Wood exibem imensa seguranca ao carregarem o filme, que tambem desperta nosso interesse atraves da analise dos motivos que levam pessoas comuns a violencia das torcidas organizadas.

Green Street Hooligans loses any credibility it might have had the minute it tries to pass off Elijah Wood as a tough guy.

Nothing hits harder, or with less tact, than the overriding message, that Matt is really looking for a surrogate family.

At least three writers collaborated on a script that drums out loudly its themes of loyalty, honor and revenge, and the finished product dances quickly enough between cliches to make for passable entertainment.

It swims and sinks in melodrama.