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Frankie decides he's had enough with his life as a street thug living on a South London estate, and jets off to spain where he meets big time businessman Charlie, who's currently running ... See full summary »
Six years after KiDULTHOOD, Sam Peel is released from jail for killing Trife, he realizes that life is no easier on the outside than it was on the inside and he's forced to confront the ... See full summary »
Scarlett Alice Johnson,
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A feature length thriller/horror set in post-apocalyptic London starring Danny Dyer, Tamer Hassan, Simon Phillips, Ronan Vibert, Sebastian Street, Daisy Head, Rita Ramnani and John Mawson. ... See full summary »
Four policemen go undercover and infiltrate a gang of football hooligans hoping to root-out their leaders. For one of the four, the line between 'job' and 'yob' becomes more unclear as time... See full summary »
Eight haunted people meet and fall apart - looking for redemption in each other. Jim is throwing watermelons off his office roof. He's testing the effect for a possible suicide. But then there is Sue on an adjacent roof about to jump herself. They meet, delay their departure and set off searching for other ways out than down. Sue's ex-boyfriend, Dean, is struggling with his creativity. His paintings are getting panned and his poetry ripped apart. He needs a muse - and who better than Gina, the experimental prostitute with dodgy legs who lives next door. However, Dean soon finds out that Gina never does anything for free. After a short fling with Dean, Olly is lost in a world of sexual confusion when forced to look after his deaf-mute brother Chris for the day. Olly discovers that not only does Chris has gay feelings too, but is more comfortable with them than he is. They embark on a searing quest through Soho's gay community to help Chris loose his virginity. But no-one has more to ...Written by
This film promises much more than it delivers. I am not necessarily a fan boy of films such as Football Factory, or The Business, which portray Danny Dyer et. al. as cheeky cockney chappies who aren't nice guys but we empathise with and indeed, I applaud Messrs Dyer, and Hassan for taking a film with roles which are far more challenging and require far more acting talent than previously seen from them. They are thoroughly fantastic throughout and earned a star each in this review for their outstanding performances of what is an awful concept, and, quite frankly, script.
I do not want to include any spoilers, but it appears that this film, as mentioned by way2grimee is mere arty farty rubbish. It is a film for films sake and as such neglects the audience throughout. It appears the concept of the film drove the dialogue, and this results in a choppy narrative that has been described as 'like pulp fiction', but actually just seemed more like pulp...soggy, and with little substance. It fails to deliver any satisfying character development, leaving a total lack of empathy or understanding for the characters. I also agree with way2grimee that the sexual scenes, both homo and hetero, appear to be there for no other reason than gratuity and controversy and indeed, using cinematic suggestion the same effect on the storyline, and what scant character development there was, could have been achieved, possibly in a much better, more subtle and less brick-through-a-window fashion.
As mentioned, I am not a particular fan boy of the British gangster genre, and this therefore in no way swayed my opinion. I do like to support the British film industry, but, unfortunately it seems to be aiming to be more and more pretentious with each film. Everyone in the UK business seems to be so generically British in wanting to show the worst in everything...This film reeked of "Ooh look at how seedy London is"-ness, by someone whose experience of the seediness of London is accidentally talking to a homeless man on his way home from an organic fruit and vegetable stall at Borough Market.
Simon Fantauzzo, the writer, strikes me as someone who has spent far too much time studying film and writing itself, and not enough time on cinematography, and trying to engage the audience; as such this movie falls so flat on its face that I feel its release could easily feature on You've Been Framed. Controversial? yes, edgy? perhaps; but engaging? No way.
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