Diary of a Bad Lad (2010) User Reviews

Can't agree with any of the other reviews

[twothai4 · 2/10 · 13 August 2010]

I gave this film 2/10 stars. I couldn't make it to the end, so I thought I should be a bit generous. I suspect that if I had watched the entire film, outrage at being so stupid to waste more of my time would have moved me to give it a lower score.

I felt I was watching the results of what somebody would create if they bought the cheapest little camcorder and asked some friends to help him or her make a cheesy pseudo-documentary. It was painfully dull and tedious to watch. I kept waiting for something of substance to happen, but eventually gave up. The only thing gritty about this film is the video quality of most shots.

Beware the fake good reviews.

[slatromhsiloof · 1/10 · 29 December 2010]

No budget turd, unbelievable performances. Only thing good about this film is you can see how bad it is in the first two minutes so you can shut the thing off and stick it in the microwave on high before you die of boredom. Compare this film to a grade school play that your kid isn't in, so you don't have to watch it. The makers of this film ought to be embarrassed. They probably would have made more money by dancing in front of the bus station holding paper cups and calling for spare change. It sure would have been more entertaining to watch. Here is a tip for the makers: Next time you have an idea for a film, watch television instead, preferably reruns of "I Love Lucy". No reason we should be the only ones suffering. Avoid this refuse.

well worth a gander

[hepburn-99 · 7/10 · 11 August 2005]

Caught this one in Manchester at Kino. An interesting and well made movie that uses it's low budget combined with it's central theme to full advantage in order to keep the audience entertained. Perception is a funny thing and Diary of a Bad Lad uses this to toy with it's viewers throughout. For the first time viewers it may appear to be a genuine documentary which helps catch them off guard before playing with their expectations until the final seconds. Quite where it is heading (or, indeed, how far it will go) is never certain and this allows Diary of a Bad Lad, like The Texas Chainsaw Massacre and Last House on the Left before it, to keep people on the edge of their seats. It should also be noted that the film is very funny and a showcase for some great British acting talent. This is the kind of independent movie that doesn't "need" support - it deserves it. Definitely worth seeing if you get chance!

Finally a British film that would and could shock 'Hollywood' never mind British cinema

[welsharab · 8/10 · 17 July 2005]

When i say this movie changed my life i wouldn't be lying one bit. if a scene can stick in your head weeks after seeing it then your doing well. if multiple scenes still make you laugh, wince, cringe or grin to yourself weeks after seeing it, then your watching something special. This film will not be to everyones taste but then again nothing ever is, but the realism of how you follow 'Barry Lick' and his crew as they try to film a gritty, underworld documentary about Blackburn Gangsters will have you engrossed right until the multiple twist ending, which will no doubt leave you feeling angry and shocked (but I'm not saying anymore).

Of all the gangster/underworld films I've ever seen i think this is the only film that now makes me not want to become a gangster or get up to no good. If your the kind of person that likes to be a bit naughty, then this film makes you feel like a naughty school child that has just been sent to the corner! The script is incredibly strong and most performances are realistic and not to melodramatic, in particular Joe O'Byrne as Tommy Morghen, Jonathan Williams as Barry Lick and Roxanne Gregory as Roxy amongst others. The locations and camera work aren't 'mega budget' but they don't have to be and shouldn't be (to an extent) as the film would lose its clout and realistic edge.

It seems a shame that such a good and honest British 'No budget' film has not yet gone mainstream, i can only hope that it soon will and audiences will be able to watch a film that could and probably will give the British film industry quite a shakeup!

bad - lad - good

[earwiggy-1 · 7/10 · 10 January 2008]

I'm not one for doing reviews, in fact this is my first review ever! I watched bad lad the other day for the second time, the first was a couple of years ago before it had been graded and polished, this second viewing struck a cord and so I then watched it again the same night, the reason for this was, firstly I thought it was soooo good but secondly I wanted to see if the clever script and superb directing had any flaws in it or maybe a few holes I could pick through, did it? Not as far as I could see, the story is complex in a very easy watchable way which sucks you right in and it just becomes so easy to follow. I loved the grubbiness of the film, the image has been DE-graded in parts which really adds to the gritty realism. The performances from all involved are what really stands out though, as the film was made on DV it would be easy to just dismiss the film as a cheap amateur production if you saw just a still, but let me just say that this is not the case at all, as I said before the grubbiness really adds to the realism in a way that if it had been filmed in HD it would have been too polished and so lack something in terms of realism, back to the performances, all the cast and crew which basically are the same thing in this film where utterly believable, the acting is so natural that it really helps you to be drawn into the story and watch it as if it was a real factual piece of work. I have always liked Shane Meadows films as he always has an element of real life which with his choice in unknown actors (in general) adds a sense of accessibility to his films, one thing though about Shane Meadows films is that he does tend to let his films down a little with the poor performances he gets from some of the less experienced actors and this is were Bad Lad differs, the acting is top notch, it is so good that it does not seem as though they are acting at all. I think it is unbelievable how this film has not had a huge success at the cinema, I know something about the politics involved with ultra low budget films but if Meadows can get films like 24/7 and once upon a time in the midlands released then there must be some hope for Directors like Michael Booth who with no money at all! Manages to make something which I personally think blows anything Meadows has ever made completely out of the water. Well done to all involved with the film and may I wish you all the best of luck for the future.... hip - hip - hurray

A story that catches you unawares

[kothai-kanthan · 8/10 · 8 September 2005]

I was totally taken in that this fiction film was an actual documentary, thanks to its naturalistic dialogue and performances. I was moved to horror, anger and outrage as I watched it, ready to protest to the organisers who screened it about how they could condone such journalism, right up till the very end. I thought I was watching a documentary about drugs, pornography and rape, but the real story, about the media's lack of ethics, crept up on me, caught me unawares, without me realising it I began judging the crew, in particular the presenter, for his incalculably inhumane and opportunistic behaviour. An excellent film.

'Diary Of A Bad Lad' is well worth watching

[florentineleon · 8/10 · 12 May 2007]

After seeing this film twice now, what becomes apparent upon the second viewing is the northern humour. well timed comic performances from Paul Bertwistle in particular are what give the audience respite from the dark, sinister and intense drama that unfolds upon the screen.

To think that this film was made with such a low budget and in the spare time of the film makers is a credit to them and shows the commitment of everyone involved. 'Diary Of A Bad Lad' is certain to be a success amongst audiences everywhere and why the film has not been released yet defies logic. I challenge anyone to see the film and not have strong feelings towards it.

Docu Drama

[andrewpat · 10/10 · 6 September 2005]

Strong stuff indeed!!! Innovative, creepy yet also darkly funny - this is a must see movie that defies all attempts to categorise it as just a gangster film.

It is so much more, and shows a depth of quality and originality that suggests a bright future for this group of oh so talented film makers.

This excellent low budget British film underlines the depth of talent that exists in the UK and deserves to be seen by the widest possible audience.

Michael Booth is clearly a man to watch and I look forward to watching his next movie with enthusiasm.

An Excellent British Gangster Film

[dave-1894 · 10/10 · 28 August 2005]

I saw this film in Manchester at the Deansgate cinema and I enjoyed following the fortunes of the characters in this lively portrayal of the North West's criminal underground.

The film's characters were the best part of the film for me. Each character gave the film an edge which made the film addictive. From the ruthless gangsters to the lads stuck with a overdosed addict on their hands the films moves you from black comedy to quiet interest in how the criminals ordered and profited from their world.

The true test of a good film is whether you could watch it twice and still be entertained and I think this film falls into this category well.

An excellent film, well worth seeing.

The most convincing fake documentary I've ever seen.

[hair2 · 10/10 · 10 September 2005]

"He'll make you laugh, he'll make you think," sang Professor Fink in an episode of The Simpsons, and he could well have been talking about one of the folks behind Diary of a Bad Lad. The genius of this staggeringly-realistic faux documentary is that its black humour makes you laugh even as another part of you is thinking, "Oh my god - what these people are doing is horrific." It entertains hugely for an hour and a half, but leaves you with many unsettling thoughts on both the horrors of the crimes committed by the "Bad Lad" Tommy and the exploitative nature of the media and the ethics of journalists. These themes have never been more relevant than in these days of 24-hour news coverage when no-one thinks twice about broadcasting images of bleeding victims of terrorist attacks staggering into ambulances.

I'm generally a fan of Hollywood-style movies with happy endings, slick camera-work, fun characters and traditional "good guys", so for a film that deliberately eschews all of these things to appeal to me is no mean feat - that it did is a testament to the quality of the writing, direction and performances. The illusion of the whole thing being a real documentary is damn-near perfect, with every scene written and performed in an utterly naturalistic fashion. This film desperately deserves a release.

A Surprising Breath of Fresh Air

[PVLydiate · 9/10 · 11 September 2005]

I saw Bad Lad at a special preview staged as part of the Kinofilm Manchester International Short Film Festival in February 2005. My expectations weren't particularly high. A DV film shot over four years in and around Blackburn by a bunch of amateurs in their spare time? Going to be absolutely riveting...right? Ninety minutes later I was gob-smacked to find that, yes, it WAS absolutely riveting. From the opening sequence, when the slimy/sinister Tommy Morghen character (brilliantly underplayed by Joe O'Byrne) introduces the story, to the final denouement when we find out why he is doing so, the audience is drawn into the film and not let go for a second. I came out of the theatre with the surprising realisation that I'd enjoyed Bad Lad more than any feature I'd seen over the past twelve months - despite the fact that the other contenders had enjoyed a budget at least a thousand times bigger (Bad Lad was shot for little over £3,000).

So, what makes Bad Lad so incredibly good? Jonathan Williams has crafted a cracking script which is witty, harrowing, thought-provoking, funny and chilling in turn. Borrowing from a number of different genres, it can't be comfortably pigeonholed into any of them. There was only one scene which didn't ring completely true to me, but this was soon forgotten when I got caught up in the action again immediately afterwards. (Even so, it was nowhere near the magnitude of the scene in Blair Witch where, now that they're lost, one of the characters decides to throw the map away. Why is it that so many other films depend upon their characters being so completely dumb in order to carry the plot?).

The standard of acting, from a cast almost totally made up of complete unknowns, is exemplary. On the couple of occasions where it seems a little stilted, these are actors playing ordinary guys who are obviously self-conscious at being filmed by a documentary crew - so the results still ring completely true. Director Michael Booth has done a fantastic job with the tools he was given. The confident and assured touch he demonstrates throughout is quite remarkable for a first-time feature director and I'm sure it will by no means be the last time I see his name on an end credits roll.

Where Bad Lad is concerned, between them Williams and Booth have pulled off that most difficult of filmic feats - creating something new. The breath of fresh air Bad Lad represents (compared to the formulaic fare we're usually treated to) completely blew me away. If this film doesn't eventually make a bigger splash than did Blair Witch there's no justice in the universe.

I've heard that, as a result of the Kinofilm Manchester preview, the producers have been able put Bad Lad through colour grading on Sumners' Da Vinci 2K for the final cut. I can't wait to see it. When it secures a theatrical release (as I'm sure it will) - Be There!

Top Notch Film

[john-kino · 10/10 · 28 June 2006]

I invited the film to be shown at our festival, the Manchester International Short Film Festival in 2005. Essentially a short film festival, but we were doing a showcase of local directors who had made or were in the process of making a feature, so it was appropriate to do an event around a locally made feature film.

When I saw the film, I was quite honestly gob smacked by it. It was a tremendous piece of low budget film making, made with such vigour and expertise, it was difficult to see how this could have been made for less than a million!

Everything about it was good. Wonderful and witty script, tight acting, some great characters, excellent camera work and really good editing. Oh and great sound too. OK, one or two minor flaws but essentially a fine piece of film-making and one of the best I'd seen from a Uk film maker in a long time. I think the film drew praise from everyone who saw it, and when I showed Bruno Coppola (distant cousin of Francis FC) the film at my house during the festival, he couldn't stop raving about it. I think saying they "stole the show" at the 2005 kinofest - is appropriate.

All in all these guys deserve to go places and I'm really glad they got a 80 print release deal going into to UK digital cinemas this Autumn. Thanks guys for a wonderful experience and the DVD has a highly visible place in my DVD collection now. Kino john

Thoroughly excellent Saturday afternoon out

[pattyb100 · 10/10 · 6 April 2005]

I went to the AMC Cinema in Manchester with my daughter a few weeks ago. The film we saw 'Diary of a Bad Lad' was absolutely fantastic. The atmosphere in the cinema was electric. I can honestly say I have never experienced a film as entertaining. There was just about anything you could want from a film. The comedy aspect of it was just first class! We particularly liked, the scenes where they were trying to carry out the dead body of the junkie, because it was extremely funny. We also found the part where the couple who were in debt and had to make an amateur porn video hilarious. We cannot wait to see it again as it kept us entertained from beginning to end.

"We can do anything we like - you signed a release!"

[stevebalshaw · 9/10 · 19 May 2010]

Every Danny Dyer fan should see this film. And so should he.

For those who don't know, Danny Dyer is an actor has built an inexplicably successful career playing geezerish mockney gangsters and football hooligans. He also presents "Danny Dyer's Deadliest Men", a morally-questionable piece of reality TV in which he pals around with various low-level gangsters, celebrating their violent actions. Recently, Dyer made the sort of viciously misogynous "joke" one of the characters in his films, or one of his new gangster pals would make in a cheap lads' mag renowned for its Neanderthal attitude to women, and sparked a national outcry. Dyer very quickly backtracked, claiming to have been misquoted, expressing bewilderment as to how such a misunderstanding might have occurred. This is what happens to people who hang around with gangsters and criminals: they lose their distance, their objectivity; they become trapped in situations they did not initiate. Their laddish power fantasies turn nasty; spiral totally out of control.

I found myself thinking of Danny Dyer and his fans a lot while I was watching DIARY OF A BAD LAD, Pleased Sheep Productions' ferociously intelligent study of the media's obsession with, and complicity in, modern criminality.

The story is a simple one, a morality play for the modern age. Disgraced film lecturer and would-be documentary filmmaker Barry Lick has a project he believes will be the making of him: a no-holds barred documentary investigation into the alleged criminal activities of a dodgy local businessman who for legal reasons he can only identify as "Ray Topham". Recruiting a team of his own former students, Barry's quest leads him to "Topham's" "Security Consultant", Tommy Morghen, who offers all of the access the filmmakers could wish for. But Tommy is a smarter player than Barry and his callow crew could possibly imagine, and is exploiting them for his own ruthless ends…

What gives Bad Lad its unique edge is its approach, the dextrous way in which it blurs the boundaries between the real and the reconstructed. An object lesson in low budget film-making; in making the best of use of available facilities; the film is shot entirely in grainy TV-documentary style, with scenes actually cut together from much longer in-character interviews and fly-on-the-wall sequences. Dialogue is a mixture of tight scripting and controlled improvisation. The cast is a carefully selected mixture of professional actors and "real" people. The filmmakers play fictional versions of themselves - young filmmakers just out of university, enlisted by their former tutor for a project that all of them see as a ticket to that much-coveted media job. Writer / Producer / Star Jonathan Williams really is a former film tutor, and director Michael Booth was one of his students. Various shady local "characters", such as Nicky Lockett (MC Tunes) appear as "themselves". This intricately-constructed quasi-reality really allows the actors to shine. All are on peak form. Joe O'Byrne delivers a mesmerising performance as the charming, terrifying sociopath Tommy Morghen, Donna Henry is a brittle mixture of defiance and vulnerability as exploited drug courier and porn starlet Joanne, and there are stand-out tragi-comic supporting turns from Clyve Bonnelle as an ill-fated junkie and James Foster as one of Tommy's more hapless victims.

The result is one of the most plausible and convincing faux-documentaries ever made. So authentic is the film's recreation of the modern documentary style, and so credible its performances and depiction of Northern Gangland, that when lead actor Joe O'Byrne appeared in character as the gangster Tommy Morghen to introduce a screening at the BBC in London, somebody actually called security. But such attention to detail is only half the story. What gives the film its teeth is the extraordinary, multi-layered script, which is able to slide effortlessly from wince-inducing comedy of embarrassment into bone-chilling cruelty and violence and back again, and which boils with rage at our gangster-fixated, morally empty Reality-TV-dominated freak-show culture. The real monster in the film is not Tommy Morghen, it is the increasingly deranged and self-justifying filmmaker, Barry Lick, who tells one traumatized documentary subject, with an almost Satanic relish: "We can do anything we like - you signed a release!"

With such an attitude, Barry's future in TV would seem guaranteed. The only problem is, he signed a contract of his own

"...you have just invited the Devil inside."

[Colin_Warhurst · 10/10 · 17 June 2010]

To say Diary Of A Bad Lad is a "must see" movie is no mere hyperbole. There are already many discussions and observations regarding the film's low budget, independent nature (and indeed the style of the film and subsequent "acting" are the film's greatest strength) and it precisely because this film has not gone through a long, overdrawn and commercialised process by distributors keen to boil the plot, characters and story down to the lowest common (easiest to sell) denominator that we have a film so refreshingly different to anything on offer in our multiplexes or store shelves. Diary Of A Bad Lad is a film that may would not have dared try to make, or if they had, would have ran the risk of dropping the ball with too many Chefs spoiling the pot. The Production team were all reading from the same Hymn sheet on day one and it shows with such a tight, yet intricate, narrative.

The plot revolves around disgraced former University lecturer Barry Lick, who enrols his former students and protégés, or rather seduces them, into making a Documentary about various gangster figures in the local area. What happens over the course of the film is that the film crew, who become thoroughly unlikeable pretty quickly (deliberately so) are actually being manipulated by their so called film subjects, Gangtsers Ray Topham and Tommy Morghen.

The film's genius lies in making you, the viewer, implicit in Barry Lick's Production crew and quest to infiltrate the murky belly of the Underworld, camera always in tow. As he and his cohorts are drawn further into the dark-side of Ray and Tommy's actual goings on, eventually becoming directly implicated and involved in criminal activities, we become just as guilty as they do. They want more gory details in their film; we want to see more gory details in the/their film. Barry Lick's most memorable line "It's what the punters want to see!" isn't a statement, but a question to the viewer, one that we answer with a silent but assertive yes. Yes, show us more violence, pornography, drugs. Whatever you've got, we'll lap it up and watch.

As such, we are drawn into and complicit in every single unflinching and brutal act the film wheels out to us. This is not a gangster flick of bravado, shouting and swearing. The observational style of the piece means that all the characters become chillingly real, which makes the ever so easy flick between Business-Gentleman and Cold-Killer all the more shocking. As such, Joe O'Byrne deserves immense amount of praise; his turn as Tommy Morghen is not just one of the greatest gangster performances I've seen, but one of the greatest all time movie villains. Not for Tommy is the bravado and machismo of Scarface or a Guy Ritchie archetype, but rather a calm and gentle smile with a handshake and a glint in his eye that tells you have just invited the Devil inside.

As media commentary, performance piece and an incredibly well put together film, Diary Of A Bad Lad is epic in its scope; part movie, part satirical social critique. The latter makes it rise above being just another movie, but it is the former, that all of these threads, characters and criticisms can be woven into such a well crafted story, that makes Diary Of A Bad Lad an out-standing film and proof that film-stock, glossy actors and glamorous locations are not essential pre-requisites for a good film; they're not, it is about story-telling, and anyone can do that with the tools they have available. You won't see another film like Bad Lad anytime soon, and for that reason alone, the film is a "must see." The fact that the film is British, and gaining a release in Britain in cinemas, online and at retailers (any non-British reading this may not realise that this is monumentally difficult if not impossible to do in our own country) shows not just the determination of the film crew and Production to get this film scene, but that also it must have something to say and be doing something right as people are paying attention, and actively promoting the film. After seeing the film, Tommy Morghen's bone chilling smile doesn't give you any other option.