The clock is ticking towards The Last Minute, but no one knows it. No one except Billy Byrne - young, cool and talented, he's the Next Big Thing. At least that's what the London glitterazzi... See full summary »
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This is a recreation of a series of interviews done over about a year with Chris, a man with a violent, dangerous past who, now with wife and child, talks about his regret for the pain he ... See full summary »
Jim Reed, a detective, investigates a case of alleged child abuse. But remaining psychologically detached proves difficult. Soon, Jim finds himself questioning his relationships with his ... See full summary »
The clock is ticking towards The Last Minute, but no one knows it. No one except Billy Byrne - young, cool and talented, he's the Next Big Thing. At least that's what the London glitterazzi are saying, on the streets, in the clubs, in the Business. But the glitterazzi turn out to be wrong and Billy Byrne is all over in a split second. His world detonates. His self-esteem splinters. Suddenly he's on a rollercoaster ride into the London underworld - a dangerous land of murderers, thieves and talent agents. Written by
There are two extra scenes in the credits: one a few seconds in and the other at the end. The former involves Anna asking for skag from Garvey followed by the repeated image of a dog running down the alleyway. The latter is Percy at an interview with the agent about gaining representation. See more »
Mesmerising, witty, weird, disturbing, hallucinatory, nightmarish, compelling, visually and sonically dazzling ... this very original retelling of the Orpheus myth is a dark, funny, scathing, scary satire on the perils of fame in the 21st century. Although certainly not for the faint-hearted - there is some very confronting content - I have no hesitation in rating this as one of the best movies I've seen in a long time, and a must-see for any serious cinema fan.
I watched this for the first time last night and as you can tell, I was hugely impressed. I have long admired Norrington's fine work on 'Blade', and he undoubtedly transformed what might otherwise have been a real corn-fest into the keystone of a very successful franchise. I also recall being pleasantly surprised to enjoy his equally stylish League of Extraordinary Gentlemen as much as I did it (and, boy, would that have made a dream Saturday-arvo double feature with the wonderful 'Van Helsing' at my childhood local cinema!). I was sad to read that Norrington famously had such a bad time making LXG that he swore he'd never make another film, and to date he still hasn't - which is a terrible waste of a great talent. It's a real pity that such an obviously gifted writer-director has only been able to make four movies in 20 years - but I'm very glad he got to make this one!
I'm also sorry that other viewers didn't enjoy it as much as I did ... perhaps some were put off by its more extreme moments, and/or by its odd and distinctive style and approach. As mentioned, it is quite confronting in some parts and creates a powerful sense of unease, so I can understand why some won't appreciate its many virtues - but mega-kudos to Chris Blackwell and his colleagues for getting behind Norrington and letting him do this, because I have no doubt will come to be seen as his masterpiece, and I hope it will eventually be recognised a very fine and original film that deserved to reach a far wider audience.
I was hooked from the outset and love the dazzling, edgy, off-kilter way he handled the story, the characters, the images, the sound. I loved how he lets the audience go through so much of the film without showing what Billy actually makes/does - and the scene in which this is revealed is an absolute tour de force - Frank Harper as the ultimate cabbie from hell should get an Oscar - an astounding performance.
I love its cool and freaky visual style, the great music tracks, the wonderful locations, but I especially have to take my hat off to Norrington and his audio team for the soundtrack. I watched this late at night, and in order not to disturb my family, I wore headphones. I'm SO glad I did. It's not just the music that's great - the entire sound design on this film is just *superb* - there is so much happening on the audio track in every scene, so many subtle touches, that you really MUST watch it with headphones on and get fully immersed, or you'll miss a big part of what makes it so cool and so weird.
The performances were uniformly great but the underground kids are really amazing, Tom Bell is TERRIFYING, and Jason Isaacs is wonderful too - a big, juicy, scenery-chewing role if ever there was one, and he plays it to the hilt! His singing scenes are terrific and superbly weird.
I really think is is a very potent film - profound, funny, edgy and one that leaves a very powerful impression on the viewer. Well done to all concerned. This is an outstanding work, and one that should be far better known. 10/10.
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