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In late 1950s New York, Tom Ripley, a young underachiever, is sent to Italy to retrieve a rich and spoiled millionaire playboy, named Dickie Greenleaf. But when the errand fails, Ripley takes extreme measures.
A mother and her daughter, a mother and her son, and a man living with one and attracted to the other. Miro, a teen from Sarajevo, lives near King's Cross with his mother; he's nimble, able to run across roofs, so his uncle hires him to break into office skylights, so the uncle can boost computers. Twice they steal from Will's architectural firm, so Will stakes it out at night. He follows Miro home and returns the next day and meets Miro's mother, Amira. At home, Will's relationship with Liv is strained - he feels outside Liv and her daughter Bea's circle. The stakeout and Amira's vulnerability are attractive alternatives to being at home. The police, too, watch Miro. Written by
The techniques used to burgle Green Effect come from parkour, a physical discipline and recreational activity of French origin whose practitioners are called traceurs. Sometimes confused with free running, a related discipline derived from parkour, the art, as it is called by some practitioners, has gained in popularity in urban areas, particularly in Europe, during the early 21st century. See more »
When Will drinks the coffee the sex worker brings to him at midnight, "PRET" can be seen on the coffee-cup sleeve. However, the Pret A Manger at King's Cross closes at 8pm. See more »
Hi. I'm sorry.
You smell of perfume.
Well, I don't know how I do.
Nor do I.
I love you.
Is that an answer?
It's the truth. I feel as if I'm tapping on a window. You're somewhere behind the glass but you can't hear me. Even when you're angry, like now, it's like someone a long long way away is angry with me.
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Performed by Dado Jehan (as Dado Dzihan) featuring Alma Ferovic
Licensed courtesy of Dado Dzihan
Traditional Bosnian Folk Song, arrangement by Dado Dzihan
Licensed Courtesy of Musicalities Ltd See more »
There's a lot to recommend this film. Principally there is the very fine (another very fine) performance from Jude Law. His versatile and grown-up performance glues the ensemble and the story strands together. The support is top notch: Juliette Binoche is the pick of the rest, thrown into chaos by her thieving son and Law's flaky contemporary liberal; around her are a convincing neurotic (Penn), compassionate urban realists (Farmiga and Winstone) and Martin Freeman playing an almost cameo-like doppelgänger to Law. And I don't know where they found Rafi Gavron who is brilliant as a first timer amongst such company.
The film has a couple of issues - it's almost pathologically organised with one-too-many similar themes investigated and resolved over its arc. The ending ties everything up too neatly.
Despite this the film manages to break the bonds of domestic or TV drama that so easily dog other British productions. London is definitely a character though. There are carefully chosen landmarks just off the tourist radar; even the estate where the immigrant family live is not a council dive but a flawed marvel of late 1960s architecture (The Rowley Way Estate in Camden).
A super film that, from its performances to its look, dispenses with preconception to examine the way modern individuals deal with one another in isolation. 8/10
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