Critic Reviews
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Cath Clarke, Time Out
These girls are brilliantly un-victimy and always come out fighting. If only they weren't incessantly paraded about in their underwear for the viewing pleasure of men.
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Kevin Carr, 7M Pictures
I admire the ambition. Unfortunately, it's the execution that fails here.
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Jason Best, Movie Talk
The plotting is clumsy, the characterisation scraggy and the dialogue clunky- but you can't accuse Clarke of lacking ambition, even if his film does display a yawning gulf between aspiration and accomplishment.
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Joseph Proimakis, Movies for the Masses
full review at Movies for the Masses
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Leigh Paatsch, Herald Sun (Australia)
A complete absence of wit and some truly terrible writing and acting makes for one bluntly bad movie.
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Jake Wilson, The Age (Australia)
I regret to say I enjoyed nearly every minute.
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David Stratton, At the Movies (Australia)
There's something a bit off about the whole film for me. It just wasn't making it. It was chaotic without being very illuminating.
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Margaret Pomeranz, At the Movies (Australia)
This is pretty much a girl power movie, Tarantino style, with jump cuts, fast cuts, split screens and a lot of lip. And for the most part it's fun.
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Derek Malcolm, This is London
Like most of those movies that purport to tell it like it is for the fashionably chic young, the result is as cheesy and sentimental as it pretends to be streetwise.
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Allan Hunter, Daily Express
Clarke does all he can to grab your attention but then you learn he has nothing worth saying. A big disappointment.
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Alistair Harkness, Scotsman
4.3.2.1. is shrill, histrionic and a little bit naff when it could have been cool, hip and exciting.
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Tom Seymour, Little White Lies
The multithreads, a la Pulp Fiction, weave and collide, but it's all too linear, too telegraphed, its influences too obvious, its edges sanded down by compromise.
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Tim Robey, Daily Telegraph
It brings me no joy to say it, but Clarke's filmmaking is like a narcissistic strut from someone who needs to brush up on walking.
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Roz Laws, Birmingham Post
The dialogue's clunky and the ludicrous plot is full of holes. It's a great relief when real talent like Ben Miller appear -- but he's only in it for a couple of minutes.
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Ben Rawson-Jones, Digital Spy
Paragraph after paragraph can be spent dissecting the flaws, the portrayal of men as either evil or nerdish, and the cringeworthy decision to make the lead actresses all strip down to their skimpies at various stages of the movie.
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Nigel Andrews, Financial Times
Noel Clarke, blowing his promise as the debut director of Kidulthood, blends youth romp with international thriller.
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Robbie Collin, News of the World
4.3.2.1 is a totally untested mash-up of slick, Hollywood-style action and edgy British teen drama. And not only does it work -- it works brilliantly.
Read all 17 critic reviews
Featured Audience Ratings
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Not a bad movie, it kept me interested so i'd watch it again.
I thnk Noel Clarke has got some talent in his movies and he picks an exceptional cast, ive always llked stoyrlines like this where they all interlink. worth a watch
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<i>"4 Girls, 3 Days, 2 Cities, 1 Chance....."</i>
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While Jo (Roberts) is chained down in a dead end supermarket job, her friends are all out on their own separate adventures: Cassandra (Egerton) is jetting off to New York to meet her Internet boyfriend; Kerrys… More
<i>"4 Girls, 3 Days, 2 Cities, 1 Chance....."</i>
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While Jo (Roberts) is chained down in a dead end supermarket job, her friends are all out on their own separate adventures: Cassandra (Egerton) is jetting off to New York to meet her Internet boyfriend; Kerrys (Warren-Markland) is on a one woman crusade fighting for female liberation and Shannon (Lovibond) is on a one way trip to meet her maker.
<center><font size=+2 face="Century Schoolbook"><b><u>REVIEW</u></b></font></center>
From the director of Adulthood comes a shaggy dog story that seems to go on forever: Each girl has her little segment over the same time period before their stories meet up at the end. There are some ingenious touches here and there, but this is certainly a lot less clever than it thinks it is. None of the individual parts rises above the mediocre, and most will bore you before the end with the unpleasant characters and the overuse of street slang.
Note to the writer: throwing in gratuitous sex scenes might be a good diversion, but it can't distract us if the plot is poor and the performances aren't up to standard. It's also slightly ironic how this supposed celebration of 'girl power' is probably one of the most sexist films I've seen in it's depiction of women as either dumb bimbos or sex obsessed lesbians. It's perfectly watchable, but I can't help thinking there are better movies on TV right now, more deserving of your time.
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A generic and immature offering. The film is entertaining, if you can slide aside some terrible performances. It's something a teenager would write after watching Lock,Stock..., Pulp Fiction and GO!. Those fast paced crime films reveled in their daft dialogue, awesome soundtrack… More
A generic and immature offering. The film is entertaining, if you can slide aside some terrible performances. It's something a teenager would write after watching Lock,Stock..., Pulp Fiction and GO!. Those fast paced crime films reveled in their daft dialogue, awesome soundtrack choices, and large ensembles. Unfortunately, 4.3.2.1 seems as though nobody read the thing before making it. The huge amount of coincidences do nothing but cheapen the film. As the four stories are revealed, some seem to have nothing to do with anything, while others have so much going on it's impossible to give a fudge. Why did I need to see the story about a girl going to New York, being tricked into sex, etc. I don't know. Other than it opening up some American locales and bizarre Kevin Smith/Mandy Patenkin roles appearances. I don't mind a few "What are the odds?" moments in my movies, but this film is dependent on them. In a true sign of incompetent writing, every time the film hits a dead end, a lucky coincidence kicks the story down the road. If you stick films on and don't intend to think about it ever again, then you should watch this. It can be a bit infuriating for others.
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The heist happens off screen. The diamonds sparkle for seconds. <i>4.3.2.1</i> is as much about a crime, really, as <i>Citizen Kane</i> is about sledding. Yes, it's an effective thriller, but slickly sliced and whip-paced as it is, the movie is powered by… More
The heist happens off screen. The diamonds sparkle for seconds. <i>4.3.2.1</i> is as much about a crime, really, as <i>Citizen Kane</i> is about sledding. Yes, it's an effective thriller, but slickly sliced and whip-paced as it is, the movie is powered by character, and that's what makes it work. Co-directing from his own script and co-starring as the nefarious Tee, Noel Clarke provides the same pungent sense of place and people he gave his latest movie council-estate combo. His scope is broader, through, mixing nationalities, classes and motivations. Beyond that, this is a great London movie. One story-strand may take place in the Big Apple, but everything comes home to Big Ben's Town - captured as chaotic, glorious, ugly and sweet.
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Flashy, fast-paced and unashamedly trashy, this is a supremely shallow but no less enjoyable thriller, enlivened by strong performances, snappy editing and a willingness not to take itself too seriously.
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Ok thriller which runs well under the end.Dont think they knew how to finish the movie.My problem was some of the acting was terrible and really hurt the movie for me.But there was a nice cameo from Kevin Smith which was fun to watch.
Worth a look if you love Noel Clarke other movies.
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Ambitious, fitfully funny and engagingly directed thriller/comedy that sort of feels like a feature length episode of the UK series <i>Skins</i>. Ultimately some dodgy acting, fantastical elements and shamelessly exploitative parts don't stop this being a pretty… More
Ambitious, fitfully funny and engagingly directed thriller/comedy that sort of feels like a feature length episode of the UK series <i>Skins</i>. Ultimately some dodgy acting, fantastical elements and shamelessly exploitative parts don't stop this being a pretty entertaining flick from one-man movie mogul Noel Clarke.
Read all 7 featured audience ratings
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