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Each character bristles with personality, with Quinlan's Cinderella as a likeably plucky lead who doesn't need a man to define her, and is a bit annoyed by the attention. Roadnight is the show's heart as the endearing Buttons, an adorably lovelorn guy in need of a hug. Ebenezer has a great time camping up the posh Prince ("I may be charming, but I'm not necessarily sincere") and indulging in some identity-swap silliness with the lively Angel's cobbler. And of course Duncan and Price get the riotous scene-chewing roles as the outrageously lurid stepsisters.

Scenes are awash in bright hues, with clever settings and lots of surreal nuttiness (like a random circus troupe performing in a forest). While the whole thing is perhaps too ridiculous to properly engage with, it will keep audiences giggling, especially in a cinema filled with children. And for all of its wackiness and deliberately hand-made effects work, this is a surprisingly sophisticated independent film that nicely captures the joys of this distinctly British tradition. But you do need to set your cynicism aside.

themes, innuendo

4.Dec.21

Forrest has a strong presence as the intriguingly vulnerable Angus, who simply can't escape the idea that his gender fluidity is somehow transgressive. He refers to his relationship with Angie as polyamorous, but is afraid that she will judge him if he lets his true inner self out. Yildirim gets a chance to add some personality to the role, even if she remains somewhat out of focus. When they finally confront each other, the scene has an earthy authenticity, shot in extended takes.

The film is packed with mini-sermons, many of which will seem blindingly obvious to anyone who has lived at all. But some of these also strike a nerve, such as the idea that people don't understand us because we're sending out the wrong messages. With some more complexity in the writing and editing to add some clarity and even provocations to the meandering story, these kinds of observations might have carried a strong kick.

themes, language, drugs, sexuality

21.Dec.21

Nelson nicely conveys Syd's internal struggle, including his pungent case of self-loathing, which is much more compelling than the more simplistic addition of a drinking problem. With improv-style conversations, there's strong on-screen chemistry between Nelson and Watson, who gives Matt an open-handed honesty that has an extra kick as he provokes Syd to think about his next step. Scenes with Johnston's Rachel bristle with a mix of affection and strikingly authentic unspoken tensions. And side characters add their own strong moments along the way.

While the plot grapples with some big topics, the film remains remarkably internalised, constantly circling around issues of appearance and expectation, augmented by scenes involving Syd's 8-year-old costar (Arason), who is never good enough for his pushy father (Kincaid). Syd's journey through this narrative is quietly involving, forcing him to grapple with things about himself that he doesn't want to accept. So when he is pushed into a corner, it's fascinating to see his reaction, because the film becomes both moving and important.

themes, language, sexuality

2.Dec.21