It's virulently anti-Thatcher, sometimes hilariously so: there's a shot of the lead actor after a bruising NF rally, then he exits the shot and we're left with the sight of a poster for the Tory party with a picture of Mrs Thatcher and the words 'Conservatives: Uniting Britain'. This is pitiful political posturing; I actually burst out laughing. Firstly, the Conservatives never produced that poster. Secondly, why would they? Thirdly, it's just so brain-hammeringly obvious what the filmmakers are trying to do here. Their bias is literally laughable. There's another scene where the lead visits his new white English girlfriend whose parents are of course evil Tories and they actually have a poster in their window which has the words 'Margaret Thatcher' on it. Why would anyone have this in their window, especially when it's not election time?! This is visual storytelling at its most painfully amateurish, in thrall to student, Corbynista politics. (There's another, later scene with a multitude of newspaper headlines in the background that is so cretinous it takes the breath away.)
Of course, because it ticks the right boxes - ethnic, leftish, a low-budget Brit film - the critics have largely given it an easy ride, but this isn't a good film. It's too long. The acting is weak, the scripting more so. It isn't funny - AT ALL.
There are all sorts of anachronisms, musically and otherwise. The right-on girl tells her parents: 'Nobody says coloured any more' but, um, yes they did, in 1987. It wasn't till many years later that that our liberal masters told us that that was a COMPLETELY UNACCEPTABLE term (whereas the totally and utterly and completely different term 'people of colour' was completely acceptable).
It's the politics that really betray where the film's heart lies. Most of the whites in the film are villains, most of the non-whites are goodies. The film tells us that the Muslim's family is suffering oh such hard times because of nasty Thatch. I can assure the writer that the family would have had a vastly, VASTLY worse standard of living, vastly less freedom and witnessed a good deal more violence had his father not been allowed to come to England and stayed in Pakistan; the opportunities to better oneself in that country are not comparable to in Britain. And as for Luton. Well, just go there today and stay if you can in some of the Islamist neighbourhoods and see how welcome you feel. Although the opposition to Pakistani immigration into Luton was often crude and crass, the native people knew deep down that this was not something benign, it wasn't something that went along with their ideas of how life should be. That Luton is now a hotbed of Islamic extremism isn't addressed in the movie, naturally.
You can see why this film got funding - it ticks all the right diversity boxes. But blimey, it's a stinker: its template is incredibly well worn and yet the dramatics it presses upon this template are deeply unexciting. And one final, teasing question: is Bruce Springsteen actually all that good, apart from his obvious classics?