| Photos (see all 13 | slideshow) |
| Danny Nussbaum | ... | Tim | |
| Tony | ... | Woody (the Dog) | |
| Bob Hoskins | ... | Alan Darcy | |
| Bruce Jones | ... | Tim's Dad (Geoff) | |
| Annette Badland | ... | Tim's Mother (Pat) | |
| Justin Brady | ... | Gadget | |
| James Hooton | ... | 'Wolfman' Knighty | |
| Darren O. Campbell | ... | Daz (as Darren Campbell) | |
| Krishan Beresford | ... | Young Darcy | |
| Karl Collins | ... | Stuart | |
| Anthony Clarke | ... | Youngy | |
| Johann Myers | ... | Benny | |
| Jimmy Hynd | ... | Meggy | |
| Mat Hand | ... | Wesley Fagash | |
| Dominic Dillon | ... | Court Security Man (as Lord Dominic Dillon of Eldon) | |
| Ian Smith | ... | Prosecutor | |
| Tanya Myers | ... | Sally the Judge | |
| Frank Harper | ... | Ronnie Marsh | |
| James Corden | ... | Tonka (Carl Marsh) | |
| Tony Nyland | ... | Gadget's Dad | |
| Collin Higgins | ... | Knighty's Dad (Adrian) | |
| Jo Bell | ... | Jo | |
| Pamela Cundell | ... | Auntie Iris | |
| Gina Aris | ... | Sharon | |
| Sammy Pasha | ... | Jimmy Marsh | |
| Paul Fraser | ... | Photographer | |
| Ladene Hall | ... | Daz's Girlfriend (Pob) | |
| Dena Smiles | ... | Meggy's girlfriend (Leslie) | |
| John Baxter | ... | Man outside Shop | |
| Maureen O'Grady | ... | Knighty's Mom (Janet) | |
| Shane Meadows | ... | Man with Saucepan on Head (as Lord Shane Meadows of Eldon) | |
| Ben Rothwell | ... | Man selling Flowers | |
| Ron Bissel | ... | Boxing Match Judge | |
| Mick Bleakley | ... | Boxing Match Judge | |
| Derek Osborne | ... | Boxing Match Judge | |
| Derek Groombridge | ... | Staffordshire Coach | |
| Liam Walsh | ... | Staffordshire Boxer | |
| Kevin Wallace | ... | Staffordshire Boxer | |
| Dave Miller | ... | Phil 'The Animal' Yates | |
| Vincent Keane | ... | Stephen S. Stephenson Jr. (as Ginger Keane) | |
| Sun Hand | ... | Jordon Fangash | |
| Sarah Thom | ... | Fangash's Girl (Louise) |
Directed by | |||
| Shane Meadows | |||
Writing credits(in alphabetical order) | ||
| Paul Fraser | written by | |
| Shane Meadows | written by | |
Original Music by | |||
| Boo Hewerdine | |||
| Neil MacColl | |||
Cinematography by | |||
| Ashley Rowe | (director of photography) | ||
Film Editing by | |||
| William Diver | (as Bill Diver) | ||
Casting by | |||
| Abi Cohen | |||
Production Design by | |||
| John Paul Kelly | |||
Art Direction by | |||
| Niall Moroney | |||
Set Decoration by | |||
| Astrid Sieben | |||
Costume Design by | |||
| Philip Crichton | |||
Makeup Department | |||
| Scott Beswick | .... | additional hair stylist | |
| Scott Beswick | .... | additional makeup artist | |
| Suzanna Botterill | .... | additional assistant hair stylist | |
| Suzanna Botterill | .... | additional assistant makeup artist | |
| Adrian McKenzie | .... | additional assistant hair stylist | |
| Adrian McKenzie | .... | additional assistant makeup artist | |
| Pebbles | .... | chief hair designer | |
| Pebbles | .... | chief makeup designer | |
| Tapio Salmi | .... | hair stylist | |
| Tapio Salmi | .... | makeup artist | |
| Melissa Walsh | .... | additional assistant hair stylist | |
| Melissa Walsh | .... | additional assistant makeup artist | |
Art Department | |||
| Kenny Augustin | .... | property master (as Kenneth Augustin) | |
| Brian Bird | .... | dressing props | |
| Gillian Edwards | .... | production buyer | |
| Carl Jones | .... | props runaround | |
| Emma MacDevitt | .... | art department assistant | |
| Chaz Prestidge | .... | stand-by construction manager (as Chas Prestidge) | |
| Polly Richards | .... | assistant art director | |
| Astrid Sieben | .... | production buyer | |
| Adam Southgate | .... | stand-by props | |
Sound Department | |||
| Julie Ankerson | .... | foley artist | |
| Anstey Bligh | .... | trainee sound assistant | |
| Jens Christensen | .... | dubbing assistant | |
| John Coates | .... | boom operator | |
| John Fewell | .... | foley artist | |
| Simon Gershon | .... | dubbing editor | |
| Simon Gershon | .... | sound designer | |
| Paul Harris | .... | adr recordist | |
| Dave McGrath | .... | dialogue editor | |
| Jeremy Price | .... | foley editor | |
| Jeremy Price | .... | foley recordist | |
| Rosie Straker | .... | sound mixer | |
| Rosie Straker | .... | sound | |
Special Effects by | |||
| Tim Baxter | .... | optical effects | |
| John Markwell | .... | special effects | |
Stunts | |||
| Vincent Keane | .... | stunt coordinator (as Ginger Keane) | |
Camera and Electrical Department | |||
| Joss Barratt | .... | additional still photographer | |
| Ian Clark | .... | focus puller | |
| Paul Dibden | .... | electrician | |
| Richie Donnelly | .... | clapper loader | |
| John Donoghue | .... | gaffer | |
| Abbie Ewing | .... | additional electrician (as Abbi Ewen) | |
| Dave Glossop | .... | stand-by rigger (as David Glossop) | |
| Kevin Higgins | .... | camera grip | |
| John Howes | .... | crane technician | |
| Bob Langridge | .... | grip: second camera | |
| Andy Newall | .... | focus puller: second camera | |
| Kenny Palmer | .... | additional electrician | |
| Ashley Rowe | .... | camera operator | |
| Gregory Shummon | .... | best boy electric | |
| Laurie Sparham | .... | still photographer | |
| Alan Stoyles | .... | stand-by rigger | |
| William Tracey | .... | best boy | |
| David Wall | .... | electrician | |
| Nigel Willoughby | .... | camera operator: second camera | |
| Edward Wright | .... | camera trainee | |
Costume and Wardrobe Department | |||
| Tami French | .... | additional wardrobe assistant | |
| Theresa Hughes | .... | wardrobe supervisor | |
| David Sanderson | .... | wardrobe assistant | |
Editorial Department | |||
| Lorraine Armstrong-Esther | .... | post-production coordinator | |
| Carol Houtman | .... | assistant editor | |
| Stephen Law | .... | post-production: delivery | |
| Clive Noakes | .... | color grader | |
Music Department | |||
| Boo Hewerdine | .... | music producer | |
Other crew | |||
| Dena Barnett | .... | floor runner | |
| Dominic Dillon | .... | assistant to director | |
| Janey Dillon | .... | floor runner | |
| Sara Dixon | .... | accounting assistant | |
| Cathy Doubleday | .... | script supervisor | |
| Derek Groombridge | .... | boxing advisor | |
| Suzie Halewood | .... | production secretary | |
| Rob Jones | .... | unit location manager | |
| Vikki Luya | .... | unit publicist | |
| Mick O'Reilly | .... | location assistant | |
| Lita O'Sullivan | .... | production accountant | |
| Sammy Pasha | .... | assistant: Bob Hoskins | |
| Alison Pitman | .... | location assistant | |
| Robyn Slovo | .... | script editor | |
| Winnie Wishart | .... | production coordinator | |
| Nigel Wood | .... | production accountant | |
| Philippa Wood | .... | assistant to executive producer | |
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| Prick Up Your Ears | Into the Wild | Mysterious Skin | The Kite Runner | 101 Reykjavík |
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TwentyFourSeven is a pleasing film from director Shane Meadows who also acted and co-wrote the screenplay. Rather sensibly for a first-time endeavour, he's opted for a low-key work rather than the flashy fragmented works of other young debutantes (Guy Ritchie please take note).
The story is alarmingly simple and is thus: Alan Darcy (Bob Hoskins, excellent) helps out wayward youths in a harsh Northern town by running a boxing club. And that, basically, is it. The film perhaps plays on too narrow a canvass and it's "life is harsh" rhetoric can be mildly overstated. Witness the habitual drug user who turns up to a bout with the largest spliff in history. This guy does drugs, and in case you don't get the point, here's a telescopic joint that would bankrupt Columbia. Bruce Jones' wife-beater can also be a little one-dimensional, saved only by the actors' charm. Yet the fact that the screenplay is so modest in it's ambitions helps it immensely. A lesser talent would have thrown everything at the screen for his first full-length work, yet Meadows tells his tale and tells it well.
Dialogue that could veer towards slight pretention is saved by the wonderful Hoskins, while the real triumph is the black and white filming. This isn't the Schindler's List type of black and white; a dull grey that looks like a normal film with the colour control on your TV turned down. This is a dark, grimy black and white that takes away any contemporary restraints. Particularly notable are the scenes set against the woods and train car, and the pace they evoke. This is a film that doesn't drag but takes it's time with precision. It will entertain you and doesn't need to rush it. Impressive.