With Guy Ritchie putting the embarrassment of Swept Away behind him and introducing crime drama Revolver on the horizon it is with some trepidation that we welcome yet another gangster film to our screens. The Business re-teams director Nick Love, with his actors Danny Dyer and Tamer Hassan from The Football Factory, and ships them off to the coast of Spain to smuggle drugs and get in a bit of bother. Unlike the great amount of British produced derisory imitation films that followed in the wake of Lock Stock� Love's film relies less on colourful language and gunplay (though these are copiously present throughout), instead concentrating on creating a realistic environment and feel for the characters to strut around in.

It is the 1980's, Sergio Tachini is the thing to wear, and Duran Duran are the biggest sound in the world.

Dyer plays Frankie who, following a bit of a disagreement with a local South London villain, finds himself transported to Spain by a friendly local fence to courier some money to crime boss Charlie (Hassan). Sensing that the youngster may prove useful Charlie takes Frankie under his wing, a move that doesn't prove popular with Charlie's business partner and all round psycho Sammy (Geoff Bell), who immediately dislikes Frankie and more significantly mistrusts him around his gorgeous (in an 80's way) yet dangerously flirtatious girlfriend Carly (Georgina Bell). Tolerated by the local mayor, as long as his pockets are lined and their interests rest clearly on the softer drugs, the greed for the finer life of faster cars and brasher houses (�Get rid of that Spanish fly crap, I want black, red and chrome everywhere�), prove divisive to the gang. Sammy tries to set up Frankie, and the gang breaks up, with Charlie and Frankie eventually securing a nice line in cocaine trafficking, large amounts of which go up their noses. Eventually this leads to a run in with the mayor, who they have grossly underestimated.

Love's attention to detail in The Business is really what sets this film out from the growing crop of similar work. Like The Football Factory, he creates an authentic milieu in which his characters roam, based on his own experiences. His insistance on the believability of the characters (hence why Orlando Bloom wasn't given a second thought when he offered himself for the role), the way they dress and their aspirations are carefully realised, whilst the saturated colours add greatly to the visual impact. Performances are good, particularly from the lesser prominent actors, the pacing is judged nicely, and at the centre the film has something of a modern morality about it.

The film is not without it's faults � the ending seems too convenient and the female characters when present are nothing more than clichés, albeit with some of the more amusing costume choices, but in a film that is careful not to take itself too seriously it doesn't greatly matter. This plays like a 80's fantasy imagined by a young boy watching Miami Vice, listening to Frankie Goes To Hollywood, and wishing he could wear Don Johnson's suit, and at one point in the film it would appear that Frankie manages it.