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It also helps that Tim and Stephen are likeable idealists determined to do what they can to bring justice to a racist system of government. Radcliffe goes full-70s with long hair, bushy beard and huge specs, creating a solid character as a young man whose curiosity and honesty inform each decision. Even though Stephen is less defined by the script, Webber is also engaging. Hart provides gravitas as the cellblock's veteran leader. And Winter adds scruffy charm as a fictionalised version of a fellow inmate.

Since this is based on real events, the story has a proper sense of importance. There are frequent references to the work of the ANC to challenge the government, and also to Mandela's very different kind of imprisonment on Robben Island. And the vile bigotry of guards and officials is palpable without ever being exaggerated. Annan cleverly keeps all of this present throughout the story, even if it remains mainly in the background. For a prison break thriller, this film may seem rather low-key, but it carries a potent thematic kick.

themes, language, violence

19.Dec.19

Even though the characters are rather cartoonish, they're performed with an unfussy authenticity that makes them even funnier. Sweeney and Findlay layer engaging emotions under the comical surface, revealing their yearnings. Their connection becomes more and more complex as the film continues, making the characters likeable even though they're a mess. The supporting cast is also excellent, underplaying side characters who provide needed moments of comedy and truth-telling along the way.

It's up to a close friend to point out the fact that Todd isn't bisexual: he's ashamed of himself. It's clear from the start that Todd is going to need to face up to who he is, and Sweeney writes, directs and plays him cleverly, continually pushing against provocative boundaries even as the film remains rather sexless and adorable. But it's a terrific, unpreachy exploration of how difficult it is to love someone when you can't even love yourself. And that love and companionship are as important as romance.

themes, language, sexuality

21.Feb.20

At the centre, the stony Fairbrass brings a sense of quiet dignity. Eddie is a considerate man tired of the way life keeps pushing him into criminality but resolved to do what needs to be done. He also has a very fiery temper. It's a remarkably layered performance for a film like this. And Russo is also strong as his likeable-idiot brother. But it's Hoyle who gives the movie a blast of soul, with a quietly impassioned turn as a young woman who has learned to hide her true feelings.

Barantini seems perhaps a little to excited by both the gunplay and a grotesque (thankfully largely off-screen) dismemberment sequence. Shootouts are a rather lazy way to resolve issues in a crime movie, especially one set in London. And thankfully this script offers some textures in the way these tough men attack each other. But in this movie, only Eddie seems to understand that violence doesn't solve anything. And this is depicted almost ironically, which makes the film thoughtful without being provocative.

themes, language, violence, drugs

26.Feb.20