An examination of the malevolent London underworld with its despicable criminal underground. Ray (Mick Rossi) just finished an eight-year prison sentence after getting set up. Now he is back on the streets to settle the score.
When Stevie meets Neil on the day he comes to deliver her brand new kitchen, it's already too late for love at first sight. Too late for both of them. Stevie is already five minutes ... See full summary »
Simon Cellan Jones
This film is based on the one act play by W B Yeats and concerns another great figure from Irish literature, Jonathan Swift, whose spirit, with those of his two lovers, Stella and Vanessa, ... See full summary »
You have to be thankful for small favours, so I am thankful for having seen the original version of this movie, 'cos I'm sure an Italian dubbing would have accomplished the hard feat of making this movie worse. First, the lack of continuity is so big it jumps (and dances) in front of you: how come Best's accent is so strong at the beginning and almost gone near the end? how come he arrives in Manchester has a teenager and three years later looks fortyish? This movie lacks rhythm, it doesn't have a story and doesn't go anywhere. This movie lacks insight: we are told the life of a man who was good at football and who one day starts drinking, gambling and womanizing out of the blue. We await for an explanation of any kind, but to no avail. However, Best is portrayed as a "poor victim": a victim of what? Of the fact that someone gave him big money to run around a ball? Please!!! This movie lacks acting, so badly it hurts: only Ian Bannen delivers, but he has to put with lines from an alternative version of the "Symposium" that make him sound like a cheesy Socrates (the philosopher, not the footballer). A particular shame in this department must be bestowed upon females. I would not dare saying "female characters": Sophie Dahl is better than Patsy Kensit (go figure!); the latter would have found it easy to play this role, since she's been married to a lame imitator of Best's excesses (a Gallagher, in case you didn't know), but she can't even draw from personal experience. This movie lacks football, and it lacks it a great deal: if I knew nothing about this sport I would find the "coreographed scenes" ridiculous. Also, why re-enact famous matches only to film them with a 1960's-telly effect?
For this, and many more reasons, this movie lacks directing. It looks as if it's been directed by a large group of people who don't speak to each other, and it feels like a long bad tv commercial (what about that Irish choir?). Oh, and about the music, I haven't seen a single British movie that didn't feature "Come up and see me" by Steve Harley/Cockney Rebel: can some charity up there ship some new music to British Filmmakers? I don't want to go on forever, but the re-enacted scenes are another shame of this movie: you get actors filmed with a lousy filter and then pasted over an 80s (or 70s or 60s) background: it doesn't make sense, and it totally sucks. Like this whole movie.
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