HOWZAT

I suppose some criminals have made a lot of money but I only ever see casualities — the broken families and the drug addicts, and that’s always unbearably sad. It’s nothing like in the films. Young people especially need to understand the consequences of their actions. However, would that be successful at the box office?

Stewart Tendler, 59, crime correspondent, The Times

Unlike many policemen who say they avoid fictional crime like the plague, I enjoy crime films and thrillers. I can live with the inaccuracies but I dislike overblown violence. A good crime film has pace, good characterisation, unpredictability and realism. What it should not have is the sort of ham that Stephen Fry injected into the policeman he played in Gosford Park.

I don’t think I could pick out one single favourite. In some, such as the original Thomas Crown Affair, Point Blank and Bullitt, it’s a matter of style. In the more recent Heat it’s the power and drive — the bank heist is extraordinary (said to have been devised by an SAS veteran). But my Top Ten must include the first two of the Godfather Trilogy, On the Waterfront, Mean Streets, The French Connection, Fargo and The Friends of Eddie Coyle.

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Roy Ramm, 54, former head of organised crime at Scotland Yard, now security director for the casino group London Clubs

I have a love-hate reaction to crime films. Much depends on whether the film sets out to be an earthy, realistic film or pure cinematic fantasy — I much prefer the latter. I loved Sexy Beast, Thomas Crown Affair (both versions) and Ocean’s Twelve. Even sinister movies, such as Seven or Silence of the Lambs, are so far removed from reality that I can enjoy them as entertainment.

The closer the movie-maker tries to get to reality, the more flawed they seem and the less I like them. I know that they will seldom be realistic because the truth about most crime doesn’t make great cinema. The right formula is to be trivially accurate and fundamentally entertaining. My favourite film would have to be Dog Day Afternoon. There are inept robbers, inept cops. Appalling negotiators and some classy moments. Happy ending when the bad guys get shot! We used to show it to trainee negotiators as a “how not to” movie.

Andrew Oldham, 37, frontline patrol police officer, former special constable with Surrey Police

A good crime film is pacy, with good characteristation, and people you care about. The movie has to look good too. Road to Perdition makes good use of location — it’s always rainy and dark. It is also one of the rare movies that actually shows the consequences of crime, as the son comes to terms with what his father does. Bullitt is good too — a bit dated but very stylish. Love, Honour and Obey is another marvellous one. It glamorises crime completely; the whole thing’s set to karaoke!

However, there is a real fascination with criminal activity, and I think some people are negatively influenced by movies such as Lock Stock and Two Smoking Barrels and Layer Cake. People see the glamorous life of the criminal but no consequences. From most British crime films you get the impression that the police don’t exist. You can’t help but notice, in films like The Long Good Friday, the criminals blow up a pub and there’s no hint of the police showing up. But I suppose a film that did depict the job of the police would be really boring.

Bruce Reynolds, 73, Great Train Robber

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