In mid-1980s coastal England, Edward (Milner) is young boy who's more than a little disturbed to be living in the nursing home run by his parents (Morrissey and Duff). Surrounded by senility and death, he is understandably obsessed with the afterlife, searching for proof of ghosts. And the newest resident, the former magician Clarence (Caine), seems to have an inside track to these things. But as their friendship grows, Clarence's cynical crankiness starts to rub off on Edward.

Without ever tipping over into silly farce, the film maintains a cheeky tone that's often very funny. Edward is mischievous and strong-willed, always up to something and often just a little bit monstrous. So when he encounters the grumpy old Clarence, he's really met his match. Neither of them put up with any nonsense, and their growing friendship is charming and darkly amusing. As well as being quite moving, especially as we can guess where it's heading.

Both characters are superbly played, with the spiky young Milner holding his own against the iconic Caine, who's at the top of his game here. These are sparky, likeable characters we can really identify with. And they're surrounded by a terrific supporting cast (including a frankly awesome gang of pensioners), although all of the side-plots get to be a bit much as they start to intersect. Morrissey is especially good, though, at conveying his character's mid-life crisis as he leers ridiculously at their 18-year-old employee (Cocker).

Where the film really catches our attention is in the way it focuses on life in a place people go to die. The warm, sometimes nostalgic script is packed with gentle, astute observations on regrets and human dignity. It thoughtfully allows death to be an integral part of life and, as Clarence holds a silly seance to indulge in Edward's obsession, quietly makes the point that we shouldn't be trying to make contact with the dead when there are living people who still need us.

themes, language, some violence

11.Mar.09