Viewer Rating
Combines user and critic ratings from four sources
Crime, Thriller, Drama • 1980 • 114 min • Adults (18+)

A Cockney crime boss spends one very bad weekend watching his empire implode while trying to charm American money into a London property deal. Bob Hoskins and Helen Mirren anchor a grimy, propulsive British thriller that feels rooted in late-1970s masculine ambition and street-level power. The Leans Traditional label fits without much strain. The film centers on a white male criminal patriarch, presents no LGBTQ or diversity angles, and treats loyalty, hierarchy, and ruthlessness as the operating logic of its world. Political framing stays neutral, focused on betrayal rather than ideology. The cast and values reflect the era's default rather than any deliberate conservative agenda, but the overall current runs traditional.
Bob Hoskins • Helen Mirren • Paul Freeman
A Cockney crime boss spends one very bad weekend watching his empire implode while trying to charm American money into a London property deal. Bob Hoskins and Helen Mirren anchor a grimy, propulsive British thriller that feels rooted in late-1970s masculine ambition and street-level power. The Leans Traditional label fits without much strain. The film centers on a white male criminal patriarch, presents no LGBTQ or diversity angles, and treats loyalty, hierarchy, and ruthlessness as the operating logic of its world. Political framing stays neutral, focused on betrayal rather than ideology. The cast and values reflect the era's default rather than any deliberate conservative agenda, but the overall current runs traditional.
Bob Hoskins • Helen Mirren • Paul Freeman
The film explores the brutal world of organized crime, focusing on a London gangster's desperate struggle to protect his empire and transition to legitimate business. It delves into themes of ambition, betrayal, and the inescapable consequences of a life built on violence, without explicitly endorsing or critiquing specific political ideologies.
The film features a cast primarily composed of white actors, consistent with traditional casting practices of its era. The narrative centers on a crime drama, presenting traditional identities without explicit critique or making diversity, equity, and inclusion themes central to its storyline.
The film centers on a criminal enterprise, portraying the central relationship as a partnership in power and ambition rather than a traditional family unit. It offers no meaningful commentary on conventional family structures, roles, or values.
The film features a protagonist who makes antisemitic remarks towards American mobsters. The narrative frames these prejudices as a character flaw, condemning the bigotry rather than the religion itself. The film does not validate or reinforce negative stereotypes about Judaism.
The Long Good Friday, a British crime drama, does not include identifiable LGBTQ+ characters or themes within its narrative. The film's storyline centers on the criminal underworld without incorporating elements related to LGBTQ+ identity or experiences.
The Long Good Friday, a crime drama set in London, does not feature any identifiable transsexual characters or explore related themes. The narrative centers on the protagonist's criminal enterprise and conflicts, with no elements pertaining to transsexual identity or experiences. The film's plot is entirely focused on the underworld power struggles.
The movie does not contain any action or adventure elements.
The Long Good Friday features an original screenplay and characters created specifically for the film. There are no pre-existing source materials, historical figures, or prior adaptations from which characters' genders could have been altered. Consequently, no gender swaps are present in the movie.
The Long Good Friday, released in 1980, presents original characters developed specifically for the film. There are no prior canonical or historical depictions of these characters' races from source material or real-world history, precluding any race swaps.
Combines user and critic ratings from four sources






















