On this page: DIVISION 19 | GIANT LITTLE ONES | GWEN

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Draven is solid as the haunted tough guy at the centre of the story, hardened by his years being exploited in jail, quickly learning the tricks to avoid detection (including that cliche of cliches, a floor-length trenchcoat). Roache lends the film some gravitas, effortlessly giving his rather simplistic baddie some fascinating layers. And Doody delivers great menace. Sadly, there isn't quite enough of the charismatic Rothhaar and Hemingway (as a rebel leader).

In some ways, this feels like a TV series that has been whittled down to movie-size, as intriguing characters appear and are oddly sidelined. And it's packed with twists that go nowhere. The idea of a society run by advertisers is a great one, but Halewood's script uses the idea without actually grappling with it. Audiences who don't care about things like plot or character might still enjoy the film's look and feel. But with even a slight sense of focus, it could have been a lot more than this.

themes, language, violence

18.Jun.19

All of the actors are terrific, with finely textured performances from Wiggins and Mann, whose close-then-messy friendship feels bracingly authentic and easy to identify with. Side characters are also strong, with excellent scenes for Bello and MacLachlan, a provocative and meaningful turn from Hickson, and some wonderful scene-stealing from Wilson as Franky's intrusive tomboy classmate. The actors particularly shine when delivering dialog that feels unforced and natural, which often makes what they say feel revelatory.

So it seems like a shame that Behrman loses his grip on the main body of the film, as events get jarringly simplistic and overwrought, characters behave irrationally and the script and direction continually sidestep what's actually going on. The closing scenes between Franky and his parents and friends are so good that the film is definitely worth a look, especially as it encourages young people to stop worrying about labels and focus on the people you love. And of course those who love you.

themes, language, violence

25.Mar.19

The story is told through Gwen's eyes, and Worthington-Cox delivers a powerfully layered performance as a young woman who does what she knows she has to do. Her steely will and emotional fragility are vividly well-played, adding a jagged kick to her scenes with Peake, as a relentlessly disapproving mother. Thankfully, Peake is allowed to soften the character a few times along the way, because she's otherwise unbearably harsh. And life is so brutal that it's impossible not to wonder why she is hanging in here so tenaciously.

The film's grim tone is sometimes overwhelming, making the viewer wonder why this story is being told at all. And since the drama is so downbeat, it's the thriller aspects that grab hold. McGregor creates real tension right from the start, stirring in scary images and sounds that build a gnawing sense that something terrible is coming. This puts the audience right into Gwen's shoes, seeing all of the things that could potentially jeopardise life in this place. Indeed, violent things happen incrementally, playing on deep fears to chill us to the bone.

themes, violence

4.Apr.19