A story about a troubled boy growing up in England, set in 1983. He comes across a few skinheads on his way home from school, after a fight. They become his new best friends even like family. Based on experiences of director Shane Meadows.
Sixteen-year-old Lilja and her only friend, the young boy Volodja, live in Estonia, fantasizing about a better life. One day, Lilja falls in love with Andrej, who is going to Sweden, and invites Lilja to come along and start a new life.
Bad Boy Bubby is just that: a bad boy. So bad, in fact, that his mother has kept him locked in their house for his entire thirty years, convincing him that the air outside is poisonous. After a visit from his estranged father, circumstances force Bubby into the waiting world, a place which is just as unusual to him as he is to the world. Written by
Murray Chapman <firstname.lastname@example.org>
[plays organ music in church]
Jesus can see everything I do... and he's going to beat me brainless!
[Scene change; they are in a factory]
You see, no one's going to help you Bubby, because there isn't anybody out there to do it. No one. We're all just complicated arrangements of atoms and subatomic particles - we don't live. But our atoms do move about in such a way as to give us identity and consciousness. We don't die; our atoms just rearrange themselves. There is no God. There can ...
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The closing credits play over a scene showing Bubby playing in a garden with his children. See more »
This film changed my life. No, really. It was a Friday night, and the parents were away. I was on my own in front of the television, and Channel 4 (UK + Irish viewers will know of it) was showing Bad Boy Bubby as part of some cult film season. Well, to cut a long story short, I was glued to the screen for the duration of the film (I drooled and stared at it during the commercial breaks) and when it was over, I realised that the dinner was entirely burnt. Not a particularly relevant story, you may think, but note that the television was IN THE KITCHEN, mere feet from the oven. That's how good this film is. It features possibly the greatest crazy monologue ever committed to celluloid (the pub/microphone scene), two of the most disturbing murders in any movie I've seen (and I've seen thousands), one of the most unsettling relationships I've seen, and an unbelievable central performance. This film is darker than dark, and stranger than Eraserhead. Just as Bubby is on his own throughout the film, so is the viewer. Alone, confused and disturbed beyond words.
And I've never thought of the Salvation Army in the same way since.
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