Although the plot may be a familiar one, the fine acting on display here raises this film from the doldrums into being a pretty effective and taut thriller. The ever-dependable Harvey Keitel, who's always a presence whichever film he's in, stars as an American cop who comes to London after chasing a particularly nasty piece of work, a drug dealer. Once in London he discovers that while the city may be different, the crimes and people inhabiting it are the same, from the world-weary cops to the old-time criminals who just want peace to the young thugs who would murder you in the blink of an eye.The supporting cast of British actors is packed with familiar faces, and everybody gives a good performance in this film. Particularly affecting is Craig Kelly, who plays a young informant who gets puts in grave danger as the film progresses. Kelly's performance is a realistic and touching one, not least with his believable relationship with a very young-looking Thandie Newton, who of course would go on to appear in many films. Elsewhere, Terence Rigby is also very good as a criminal who wants to help the police get the murderers, and Keith Allen puts in a thoroughly evil performance as a frighteningly nasty piece of work who bumps off those he doesn't like. His comeuppance is well deserved.Touching on the seedier side of London, complete with drug-fuelled nightclubs, and murders being committed in dark alleys, this feels very much like a typical American thriller, except that the odd setting makes it perhaps more interesting to watch. Director Danny Cannon mixes in the mystery aspects of the film with some shocking bursts of violence, leading up to the inevitable bloody death-filled finale. What surprises most is that his drama is character-based instead of style-fixated, which is often the case with some of these more recent crime thrillers they're throwing at us. Saying that, there are some good bits of cinematography, including an inspired tracking shot which transforms the London underground into a place of isolation and foreboding like never before! Although THE YOUNG Americans doesn't give much in the way that's new and has an obviously low budget, a good cast and well-sketched, realistic characters give this thriller an added edge over your typical run-of-the-mill fare. Highly recommended.

The only "young" American in "The Young Americans" is Viggo Mortensen, who was 35 years old. Otherwise we have a middle aged American (Harvey Keitel), a Zambian (Thandie Newton) and a bundle of Brits.Harvey Keitel does his usual good job, although in this case he is more polished and less violent than we expect. The film comes out just after his roles in "Reservoir Dogs" (1992), "Bad Lieutenant" (1992), and "The Piano" (1993), all of which won him renewed acclaim and awards. One year later we would shine as the "cleaner" in "Pulp Fiction".No one else is around much to talk about their performances. Thandie Newton at 20 is cute as a button, and Viggo Mortensen, though in his mid 30s, does look "young". Neither one of them gives us the quality that we later see for both.The photography is excellent, and it's great to get to see sections of London. But the plot is awkward, and the action seems excessive, especially give the British environment. The core of the message is that American crime is seeping into England and the British need to watch out. I think violence in Britain was handled pretty well in "A Clockwork Orange", two decades earlier.This was the second film for director Danny Cannon who went on to fame in TV as the producer of a bunch of CSI series as well as Nikita and Gotham.It's not a bad film, but there is nothing new or exciting or innovative to recommend it.

Youth crime and drugs are rife in London. Scotland Yard call in an advisor from the DEA because they believe a new force is in play within the underworld. Harris arrives in London to find nothing different from the LA he just left and begins to make links with Chris who seems to offer the only way into the gangs.The story may not be anything to write home about, but this film was a good introduction to the ability (if questionable script judgement) of Danny Cannon. The story makes a lot of leaps as Harris tries to shut down the American influence in the drug game. However many subplots are weak or totally incidental and just seem there to make up the time. The main story itself is a little too glossy and is a times just an excuse for Cannon's direction.Cannon directs well here – London looks good, whether it's the dark alleys or the sun setting over the cityscape. He can't really work well with character but he can do visuals pretty well.Another reviewer has commented on the `unknown' cast – however there are no more `unknowns' in this than in anything else. Keitel is good despite having the whole family subplot that he clearly doesn't know what to do with and he doesn't do as much with his exploitation of Chris as he could have – but he's always watchable. Kelly is good as the young Chris – but the emotion towards the end is a little beyond him. The rest of the cast is fully of unknowns is it? Thandie Newton? Viggo Mortensen? Keith Allen? A host of faces from British TV and films? All are pretty good although some have more to do than others.Overall the plot may not be totally together but a good strong lead by Keitel and a good bit of direction by Cannon makes this feel better than it actually is.

You have to watch carefully, wearing ear protectors, to figure out that this film is about a bloody war waged by "young american" drug lords against the old hands in London. There is an American DEA agent to "advise" the London bobbies, but he isn't young. He does have an agenda of his own, but it emerges only obscurely, as does everything else, except the noise. Even the dialog is all but incomprehensible. It's a strange way to tell a story. The editing is of a piece with the rest of the treatment. Confusing. There are pluses, though. The camera work is innovative and often beautiful images emerge from the general murk. The cast, apart from Keitel, were largely unknown to me, but they were mostly first rate at limning the many characters in the London underworld. Many were also uncredited, strange in an era when the post credits usually scroll for at least 7 minutes.