You've run out of options, no school, no job. Steal a car, smash a shop with a heavy car and reap the proceeds! This movie is about underground England. The causes, the benefits, and the result of a life of 'crash and carry.'
Michael Lewis, a young American architect, is sent to Britain to refurbish an old London hotel. But this assignment instantly stretches beyond the ordinary as he finds himself exposed to a ... See full summary »
Paul W.S. Anderson
An enigmatic fragment of a bigger story, showing events leading up to a pivotal moment in the life of a strange, troubled young man. After losing his home, fiancée and job, he finds a moment of hopefulness.
Æon Flux is a mysterious and amoral secret agent from the country of Monica. Her motives or background are left unexplained, as are those of her antagonist/love, Trevor Goodchild. On her ... See full summary »
John Rafter Lee,
The cab driver sets American Zed up with Zoe in his Paris hotel. Despite FFR1000 charged, she's an art student with day jobs e.g. bank. Safecracker Zed meets his junkie friend after 11 years to rob a bank.
Lone group of teens, led by recently released joyrider and his disenchanted Belfast girlfriend, strives to leave their mark on "a British city in the near future" while attempting to avoid a rival gang. Scenes of joyriding and ram-raiding, which attempt to portray the addictiveness of fast driving whilst also showing the downside (the effect on the community and ultimately death)Written by
Andrew Welsh <email@example.com>
Dated and basic, not really interesting or engaging enough to be worth a look
Released from prison after three months, Billy wastes no time in getting back into his previous life of stealing and joy riding. Night one back on the streets sees him and girlfriend Jo racing through the streets in a stolen BMW pursued by the police. Not long after he is right back into the "crash and carry" habit, essentially ram-raiding a shop and getting away with as much stuff as possible before the police can respond. However a raid on one shop brings him into direction conflict with gang leader Tommy who had already arranged a big money deal with Venning to hit the same shop.
At the time of release this film benefited from the Daily Mail and other Middle-England tabloids ringing their hands with worry and condemning the film for encouraging youths to replicate the crimes in the film. Over a decade later, stripped of the hype and "controversy", Shopping looks quaintly dated and the portrayal of disaffected youth in a neo-light strobing world of crime and attitude seems old fashioned and a bit silly. This isn't helped by the fact that the script never aspires beyond this basic aim and characters that are never developed beyond the most basic of motivations. The idea that some foreign viewers would watch this and take it to be a realistic portrayal of modern Britain in rather hilarious to me but in fairness, films are under no pressure to be real. This still leaves a fairly simply story with some very poor dialogue and not much material to work with.
Anderson's direction is solid enough in terms of style though which is really where his strengths continue to lie; but as a result he seems to have a limited interest in depth and his input as writer is to blame for the problems with the material. The cast match this by being pretty and famous but not doing much else. Law is skinny and bland and doesn't do anything other than looking like he is having a teenage strop for the majority of the film. Frost isn't much better and it is left to Pertwee to easily steal the film as a memorable if simple tough guy. James is OK while small roles from Bean, Faithful, Pryce and Walker make the film feel crowded with famous faces not that any of them add much value outside of this.
Overall this is a stylish film but one that now looks dated and rather empty. Without the controversy not much is left and the story and characters are too simple to engage most viewers I would suggest. Interesting to see as part of looking at early work for several British actors but probably not interesting or engaging enough to be worth a look on its own merits as a film.
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