|Index||9 reviews in total|
Unfortunately the grit of the original two movies is well lost in this episode. The main two gangsters/bad men are completely unbelievable characters. One is like a runty cousin of Danny dyer (some Essex warrior who couldn't scare a granny), and the other 'hugs' comes across as a mincing Turkish footballer, who's acting is very wooden. The acting in general (apart from Noel's) is farcical, along with the Americanised story line , which takes things too far from potential reality. Even Curtis, who was pretty demonic in the second film comes across as a theatrical comedy villain. If you are going to attempt to cast in high level gangsters who run large grossing international business's, then please, make the characters believable. Some orange Essex boy in top shop garms just doesn't cut it. The great thing about the first two films was that they were believable to a certain extent, with the plots mirroring how life can be for large swathes of society in urban environments. For some reason Clarke took this one way beyond those parameters, and failed miserably. If parenthood is to happen as the 4th and final part, then please take it back to the original flavour. There is so much good new music and Yoot's (genuine rude boys who hang with well known grime artists) to ensure Clarke could create a realistic and believable film. Unfortunately, this film waters down the first two and comes across as a way to milk the good will built up.
Caught this today with my girlfriend and some friends. As fans of 'Kidulthood', 'Adulthood' and 'Anuvahood' (if counting), and seeing as it was a bank holiday Monday, we thought we'd go see it. A good, pretty much chavless crowd was there too. I was 14 when the first film came out and I remember the phenomenon it caused. I was 16 when the second arrived, and the reaction was even bigger, because of the first film. Now I'm 24 and the end is here. I feel I have grown up with these and they are special films. This is an entertaining, well-made end, if not a great one. Noel Clarke returns, amongst some other familiar faces. The supporting actors all do a good job but this is certainly Clarke's film. There's some pumping music, stylish edits and camera-work and the odd semi/fully naked woman to keep the lads happy. There's also some dark and repulsive scenes, that make this all the more gritty, as well as some good humour and deep messages too. It does feel like it needs Adam Deacon though, I must admit. I think fans of the first two films won't like it as much but it's a fitting finale. Overall, a decent end to a powerful trilogy that the target audience is sure to embrace.
Brotherhood is the third in the series of Noel Clarke films set in London and featuring Sam Peel . Sam has grown up and is a different person to the one we saw in Kidulthood but trouble still seems to follow him in the form of an enemy who has come to seek revenge. What I like about these films is they feel very real. Although Brotherhood is more polished than the two previous films it still has that Independent vibe about it. None of the people on show are particularly likable which makes it quite hard to care what happens to them and the language is uncomfortable to hear at times . The main villain's racism seems over the top and unnecessary and kind of spoils what is an interesting film.
Kidulthood was a dark, exciting, and insightful look into the London youth culture. Adulthood expertly built on that and showed the struggles of those trying to escape the endless cycle of violence that grips the streets. Both combined danger, humour and awesome urban soundtracks to depict perfectly the modern gang scene- but most importantly- did so in a BELIEVABLE manner. Brotherhood did not reach those standards in any way. The cast failed to live up to the performances of the original movies. The plot seemed very far fetched, and often needs saving by the quite random jokes involving "Henry" (from Adulthood). Instead of the sinister threats posed by Sam Peel in the original, or Jay in the sequel, the audience are treated to an absolutely absurd duo of Daley & Hugz, who just weren't menacing enough in comparison. The involvement of Stormzy (along with his relatively polite well spoken posse) don't really accomplish anything in the movie and appear to be there just to balance out the pointless appearance of Curtis, still reeling from his Nephew's murder 20 odd years on. All in all, Anuvahood was probably more believable than this, I would give it a miss and watch reruns of Channel 4's excellent Top Boy instead.
Noel Clarke brings us the third and final instalment of his self
written London street Drama spanning over ten years with KiDULTHOOD
released back in 2006, followed by AdULTHOOD in 2008. I have always
considered these films the British answer to Boyz N The Hood and Menace
II Society addressing the tragedies of London's youthful generation.
I'm a fan of these films by default, purely to having my own fair share of drama with gang fights, drug raids and hospital visits, though don't get me wrong, I'm a good boy I assure you, I was known as 'the sensible one'; it's just my perfect circle of friends have allowed me to witness a life that some people will only see in films like these; I'm more like the Henry's and Ricky's of the street world.
During my troublesome teens back in the nineties, I wanted to make films myself and this was the subject matter of a lot of my stories with friends still urging me to write a book, so naturally when KiDULTHOOD was released I was both annoyed yet inspired by Clarke beating me to it, it's a story I can certainly relate to.
If you haven't seen the previous films, it does help to fully understand who's who though it's not essential. As a brief recap, Sam (Noel Clarke) murders a fellow street hood Trife, serves time and upon release is truly sorry for what has happened, though the past is rarely forgivable and revenge is always lurking around the corner. No matter how much Sam tries to turn his life around, there's always someone haunting him.
The deceased Trife's Uncle Curtis, played by Cornell John (he's the sensei in the latest advert for McDonald's chicken sandwiches!) is released from prison and returns to conclude unfinished business with Sam, enlisting the help of some new ruthless faces to make life difficult for Sam and taking things to the extreme.
There's some powerful portrayals in this movie, especially liking Leeshon Alexander's character HUGS who looks like the love child of Clive Owen and Tom Hardy; and Shanika Warren- Markland's Kayla who from the previous and Clarke's 188.8.131.52. However wasn't so keen on David Ajala's Det. Des or Jason Maza's crime boss Daley.
It's hard-hitting and probably the most emotional of the trilogy whilst still having it's comical elements, mostly provided by a grown-up Henry. (Arnold Oceng) Obviously, revenge is the main topic but there's a great sense of justice and loyalty portrayed here, especially the scene with Hassan (Chris Ryman) in the kebab shop.
Tom Linden does quite a haunting score, such a nice touch having the ambient hum intensifying dramatic scenes, reminded me of Michael Mann's Heat and of course, the soundtrack that accompanies the film is superb incorporating British rap, hip hop and grime from artists like Stormzy, Asher D, Chip and Lethal Bizzle. It's the perfect soundtrack to represent street life of London and in combination with the locations, it's gives the city the dynamic look it deserves.
It's obvious Clarke isn't fan of Michael Bay however, he does something Bay is notoriously disliked for, unnecessary nudity, like, lots of it and full frontals. Whilst pleasing to the eye it isn't essential to the film at all and feels like a push to give the film an 18/R certificate.
Regardless of It's low points it's a perfect conclusion to the trilogy so fans of the previous films should enjoy this as I did. Clarke is a great testament for London film making. Maybe we could fast-forward a few years into PaRENTHOOD being about reputation and struggling to keep your kids from the same fate.
"R U dizzy blud?"
Running Time: 7 The Cast: 7 Performance: 7 Direction: 9 Story: 7 Script: 7 Creativity: 9 Soundtrack: 9 Job Description: 8 The Extra Bonus Point: 10 for being a blinding finish to the trilogy innit. Result.
There is no doubt that Noel Clarke is a talented filmmaker, he acts, writes and directs this finale to the Hood story. He also gives unknown acts who can't afford to go to drama school a chance and has uncovered some real talent, His main focus is on the inner city working class youth culture where every day is a struggle to survive. Clarke does not sugar coat the grim life of many inner city issues and is not scared to address them in his movies. But it not totally gritty there is room for hope and redemption. Not the best of the three Hood movies, it is hard hitting, violent and engrossing but ultimately a rewarding watch. Full marks to Noel Clarke who is one of Britain's most talented filmmakers and his bravery in tackling tough social issues head on.
*** This review may contain spoilers ***
BrOTHERHOOD demonstrates its strong themes in a thought-provoking,
poignant and satisfying conclusion to the grime gang street drama.
Usually, a third film would either be terrible, showing the lack of character development or a weak plot. But this film has thankfully avoided all of it. Giving us more of the lifestyles and the insides of inner-west London and the choices young youths make. This review won't be long but all I can say is that BrOTHERHOOD has improved dramatically over its predecessors, providing us a much darker and complex tone filled with shocking moments.
The only thing that I found uncomfortable or unnecessary is the nudity and the sex scenes. It must be really, really lucky that the BBFC gave this film a 15 certificate because most films similar to this would receive a 18 certificate. The nudity scenes were really unnecessary or unneeded, it only just gave us less comfort or giving a awkward moment to the audience.
Overall, I think BrOTHERHOOD has given the UK a much cynical, well- written film packed with emotional scenes and a strong performance by Noel Clarke, not to mention the pure cinematography!
STAR RATING: ***** Saturday Night **** Friday Night *** Friday Morning
** Sunday Night * Monday morning
Sam Peel (Noel Clarke) has settled down with girlfriend Kayla (Shanika Warren-Markland) and two children, and has put his unsavoury past behind him. But he is thrust back into it when his younger brother Royston (Daniel Anthony) is gunned down while performing at a live show. Flash new crook Daley (Jason Maza) wants him to work for him, and has joined forces with Sam's old enemy Uncle Curtis (Cornell John) who has his own agenda. Sam tries to stay on the straight and narrow, until an horrific act plunges him back into the underworld he'd tried so hard to escape.
Noel Clarke obviously felt, eight years after the last instalment Adulthood, that the series needed to be rounded off a little more than it already was, and so we have this, we are assured, the final part. Some backstage politics, shall we say, have clearly played their hands here, and so we see the Moony character missing altogether, and Sam mysteriously settled down with his girlfriend from the last film?!?, and of course Adam Deacon's Jay completely absent following the well documented real life spat that spewed up between him and Clarke. Personally, I didn't miss his hyper street kid antics this time round.
While it still packs a powerful emotional punch or two, somehow the raw, gritty, uncompromising nature that characterised the first two films just isn't as evident here. Those films (the first one especially) were from the mind of a young man who had grown up in this unfortunate world, and who gained acclaim by recklessly writing down and screening all the types of stuff he'd seen, and as a result made a film that was 'as potent as a shot of vodka in the morning' as one tabloid review memorably put it. With such a large space of time between this and the last film, the cast (those still in it) and the material with them feel like they've grown up a bit, and this time it all seems to be played more for laughs, even during intense, dramatic scenes, especially from Arnold Oceang's Henry.
That aside, the story all feels cobbled together without the strongest narrative flow and there's an air of predictability about a lot of it that doesn't go unnoticed. It's still worth seeing, though, a grown up, more seasoned ending that those from this generation will feel they've shared the journey with. ***
*** This review may contain spoilers ***
This is the third film in a trilogy, I hadn't seen the first two but
that didn't seem to matter. This is an excellent standalone piece of
gritty British film-making. The film was tense, violent and gripping
with tight direction and fine performances.
It managed a 15 certificate, but it must have only just scraped it! Cracking script - the writing is genius and comical at times, telling the story of the lead character (Sam), who is trying his best to rebuild his life but cannot escape his past.
Great soundtrack - I'm not a huge fan of rapping but this fit perfectly and added to the film atmosphere.
Humour - the humour was pitched just right, especially with the 'gangster' who kept getting beaten up and relationship between Sam and Henry and the conversations between Henry and his girlfriend.
The only drawback was that the climatic duel at the end wasn't very original and seemed a little cliché Highly recommended British film-making
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