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Back on the scene but unrecognizable at first, because of his full beard and unshorn hair, he reconnects with his onetime lover Helen ( Charlotte Rampling) and his former lieutenant Mickser ( Jamie Foreman), who was Davey's friend. He was a crime boss, we gather, and apparently he walked away from the life because he could no longer stomach it. Will Graham still looms large in the memories of those he left behind when he chose to, or had to, disappear. In 'I'll Sleep When I'm Dead,' he plays a familiar type, the retired killer forced to return to his old skills. Hodges made a comeback in 1998 with ' Croupier,' a sleeper hit starring Owen, who was not then widely known but was launched toward stardom by that film you can currently see him in the title role of ' King Arthur,' where he creates a harder, darker Arthur than the movies usually give us. Hodges is a hard-boiled director who began with ' Get Carter' (1971), with Michael Caine in one of his best performances, also as a gangster seeking vengeance for a dead brother. In Clive Owen, Hodges has an actor who suggests the buried mystery and menace the role requires.

Whatever Will Graham did in the old days, whoever he was, there are a lot of people in south London who remember and fear him, even though he's been off the scene for years. He apparently kills himself, and when Will learns of this he returns to London. Davey is dragged off the street and raped. In a third story, a car cruises through London with a hard man in the back seat, surrounded by hired muscle.

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Somewhere in a remote area, a man named Will ( Clive Owen) lives alone in a van, is a manual laborer, finds a man who has been beaten and helps him. In South London, an ingratiating charmer named Davey ( Jonathan Rhys-Meyers) delivers drugs to parties, is popular on the circuit, picks up girls for a night, will steal anything not nailed down. But there is a tangible pleasure in following enigmatic characters through the shadows of their lives deprived for a time of a plot, given characters who are not clearly labeled and assigned moral categories, we're allowed to make judgments based on their manner and speech.

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That assumes we want a simple story, simply told, and indeed many mainstream movies and TV shows treat audiences as simpletons. Some of the reviews have complained that 'I'll Sleep When I'm Dead' is needlessly convoluted - that we're asked to spend too much time trying to identify the characters and become oriented within the plot. For Hodges, this isn't a matter of keeping us in the dark, but follows simple logic: The characters know who they are and don't have to tell one another, and we are outsiders who will need to fit it together.

At the beginning we don't even know who the characters are, or why they matter to one another. Fans of the more classic gangster entries may rest assured Graham eventually does rain violence down upon the deserving.Mike Hodges' gritty new film noir 'I'll Sleep When I'm Dead' begins in enigma and snakes its way into stark clarity. The inestimable Charlotte Rampling plays Graham's concerned, and much older, ex-girlfriend. Fatalistic dialogue, extreme masculine anxiety, a cast teeming with eccentrics, desolate streets, gray beaches, darkened elevators, and foreboding alleyways all blend into an atonal crime-jazz poem.

Before he can find his brother's rapist though, he has to tangle with the new head bad boy in town (Frank Stott), who thinks Graham's come to take his old spot back.Much like Simon Fisher Turner's dissonant, avante-jazz score, the film dodges a straight-ahead story and instead breaks out in moody variations in the key of noir. His subsequent suicide brings Graham back into the seedy underworld he left behind on a mission of revenge. His little brother Davey (John Rhys-Davies) meanwhile swaggers through posh parties back in the city, dealing drugs and engaging in freewheeling sex and petty thefts until he's violently sodomized by a white-haired car dealer (Malcolm McDowell). Clive Owen plays Graham, a former top mobster who has since retired to a nomadic life in the woods. Cars full of fast-talking British hoods and rain-soaked city streets in the dead of night-that's the stuff of which Mike Hodges's (CROUPIER) impossibly cool neo-noir gangster thriller is made.