A story about a troubled boy growing up in England, set in 1983. He comes across a few skinheads on his way home from school, after a fight. They become his new best friends even like family. Based on experiences of director Shane Meadows.
Takes place in the days before Christmas near a little-known border crossing on the Mohawk reservation between New York State and Quebec. Here, the lure of fast money from smuggling ... See full summary »
Most people would like to put this tragedy behind them...which may be why films on this subject keep failing
Another dramatized crime-biography on the mental state of Mark David Chapman, this one financed by the UK. Jonas Ball gives a fearless portrayal of the overweight sociopath Chapman who, at just twenty-five years of age, felt so isolated from the rest of the world he began to fantasize about killing a celebrity. Gunning down someone famous--in this case, former-Beatle John Lennon--would be Chapman's ticket to immortality, turning him into a prophet, a savior. No matter what amount of style or technical grace a film culled from this material can hope to maintain, the subject matter itself is off-putting; here, despite finesse behind the camera, the results are also distasteful on occasion. In the realm of a dramatization (with actors playing Lennon and wife Yoko Ono), it is therefore quite strange and queasy to see so much footage of the real John Lennon on display...and not just pictured amongst real-life headlines, but actual newsreel footage of the musician. One assumes writer-director Andrew Piddington was hoping to show a portrait of the victim as well as of his killer, but when the filmmaker stages the murder scene--with bullets bursting through Lennon's chest in slow-motion--one has their doubts that anybody here had their priorities in the right place. The film is doggedly audacious, with authentic location footage mixed in with quasi-introspective and 'revealing' voice-overs by Ball as Chapman, which are often chilling but inherently suspect, serving no particular purpose. Complete with flashbacks, flash-forwards, flights-of-fancy, and quotes from Salinger's "The Catcher in the Rye", one gets the feeling Piddington was trying to one-up "Taxi Driver" and its protagonist Travis Bickle (whom Chapman also quotes). The director certainly has done his movie-homework and knows many camera-angles and narrative tricks. Yet his picture is as soulless as Chapman, and it leaves the audience with little except the busy, intriguing intersection of an urban American city and a man lost on its outskirts. ** from ****
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