16 Years of Alcohol (2003) User Reviews

One from the heart

[paulnewman2001 · 7/10 · 3 February 2005]

Co-founder of The Skids-turned-film critic Richard Jobson puts his ambition where his mouth is in a striking directorial debut.

Superficial comparisons to Trainspotting are inevitable (set in Edinburgh, starring Kevin McKidd and featuring Ewen Bremner in a tale of struggle against addiction) but the gentle mood, flourishes of Expressionist style, John Rhodes' luminous photography and a haunting piano score plant this firmly in art-house territory.

After witnessing his father's philandering, Frankie Mac (McKidd) grows into the hard-drinking leader of a gang of skinheads (with Jobson trowling on the visual references to A Clockwork Orange) until the love of a good woman gives him a way out. But redemption proves a big step and his aggressive paranoia ensures he's not out of woods yet.

The work of Chungking Express director Wong Kar-Wai, who encouraged this project, is a major influence and a mixed blessing for Jobson; he occasionally over-eggs his point too literally (a moment in which Frankie appears to have come full circle is unnecessarily overplayed with flashbacks to remind you why it's poignant) and McKidd's melancholy voice-over sometimes intrudes.

But these are small flaws in a passionate, poetic film about hope which makes a genuine attempt to find a unique cinematic voice and is powered by an awesome, committed and hugely credible performance from McKidd.

Edinburgh drinking man depicted in hard-etched poetry

[Chris Knipp · 7/10 · 17 April 2005]

"Sixteen Years of Alcohol" is the Edinburgh story of a guy with a philandering dad who starts to drink at twelve or so, turns into a violent, alcoholic punker, and finally seeks self-reform. Early scenes depict Frankie, the young boy and his father. We then jump forward to the big, muscular Frankie Mack (Kevin McKidd) terrorizing pubs and shops with his three mates like Alex and his dogies in "A Clockwork Orange" but without Alex's archness and glee. Frankie also gets into fights with his own mates and woos Helen (Laura Fraser), who clerks in a record shop.

Eventually the hero, whose brooding voice-overs constantly intrude, loses Helen, though for a while she seems to have tamed him and turned him from Mars into Artemis, bearer of good news -- as she puts it in a game they play on a colonnade perched high up above the town. Frankie gets stabbed and kicked senseless (S.O.P. for the hoodlums of this piece) and winds up in a twelve-step group for alcoholics -- but when he shares at a meeting, he tellingly substitutes for the classic AA declaration, "My name is Frankie, and I AM A VIOLENT MAN." He also joins an acting workshop with Mary (Susan Lynch), his new girl -- or recovery pal: there's no lovemaking or physical affection shown. One shot hints that Frankie's employed in a workshop or factory, but specific detail is lacking: the film is deliberately short on connected narrative, going for passion and poetry over mundane realism.

There's truth in the 'Village Voice's' thumbnail description of "Sixteen Years of Alcohol" as a series of "static tableaux," and it's also true that McKidd's better than "the dubious romanticism and hard-man clichés of his role." Parts of the movie fall flat, but what makes it worth watching is an intense clarity about the people and the sharply lit scenes they're in. Also welcome to an American is that unlike some Scottish films this one's English is crystal clear too. There is the power and sincerity of the simple small film in "Sixteen Years of Alcohol," but also a lack of narrative focus and sense of a whole world one finds in England's Sixties "angry young man" films beginning with "Saturday Night and Sunday Morning." Jobson isn't trying for "kitchen sink" realism at all, but for something poetic and expressionistic; and the stark, strikingly lit photography helps him approach that goal and make this a watchable film.

What's less appealing is the simplistic fatalism of the plot structure. One may wind up wishing Frankie had received more practical tips about how to stay off alcohol and violence, rather than focusing on his relationships with women, which aren't developed very far anyway. The "dubious romanticism" shows up in the way a life is ultimately seen as circular (as is the film's "ring" framing device) and doomed, rather than -- what would be equally justified by the story -- moderately hopeful. The chap is still young and healthy, after all, and he wants to get better. Why not suggest he's going in that direction? This is the first film for Jobson, previously known as the front man for the Seventies Scottish art punk band, the Skids, and, later as a poet, model, TV presenter, film producer and critic. He has not disgraced himself in this semi-autobiographical effort (the time-line follows that of his own Sixties childhood and Seventies youth). What one remembers are the stark sometimes beautiful images. The high-flown, overwrought writing can be cloying, but may also point in a fresh new direction. No Danny Boyle here, but rather, perhaps, a new style and voice.

(Seen March 26, 2005 at Cinema Village in New York.)

arty attempt at the 'rehabilitated alcoholic' story

[Chris_Docker · 6/10 · 8 August 2004]

This is on one level a very gritty story of alcohol abuse and violence; on another it is an aesthetically realised elegy to hope and hopelessness. The beautiful images of historic Edinburgh are used unpretentiously as a backdrop to mindlessly savage beatings and physical intimidation, cinematic techniques involving varied use of lighting, colour, slow motion and overt symbolism. In one scene, the dead-end nature of the lives of people in a bar is demonstrated by showing them as corpses, seated with their drinks and covered in cobwebs, as the main protagonist looks on and questions his own downward-spiralling life of drink and vengeance. There is some light in the character of Helen, an art school graduate whose love might inspire hoodlum Frankie to give up his drunken brawling loud-mouthed ways, but ultimately the story of the slow and painful attempts of an alcoholic to reform himself will be too easily forgotten. The artistic attempts of writer/director and former Skids band-member Richard Jobson are what make the biggest impression – it remains to be seen whether Jobson can subsequently produce of work of creative genius rather than something that simply suggests considerable talent.

Poetic and Personal Triumph

[escalation746 · 29 July 2004]

I was not expecting much from '16 Years of Alcohol'. Perhaps an overly sentimental look back at Scottish urban life, perhaps a neo-realist bleakness. But when it started with hypnotically beautiful images of Edinburgh and a voice-over in that recognisable cadence, with repeating cycles of words drawing out every ounce of meaning from clichés like "hope"... well, I knew that I was firmly in Richard Jobson territory, and that maybe he has always been a film-maker at heart. He skirts cliché while playing with it, trying to show the violence endemic in that society and making many references to other films ('Clockwork Orange', westerns, 'Trainspotting', Martin Scorsese, etc.). It is larger than life and demonstrates how the mythic archetypes shape the characters rather too small for the roles they want to adopt.

Kevin McKidd is brilliant as "Frankie", a character the amalgam of Jobson and his brother; I kept forgetting he was not in fact Jobson. The women are incredibly beautiful and yet have a depth of character not commonly seen in films that make women into such visual feasts. They are saviour archetypes but again somehow avoid cliché. How is Jobson doing this? There is some subtle artistry at work here. The cinematography is gorgeous and I was glad for the snippet of Skids on the soundtrack, though 'Love is the Drug' gets the best treatment in a scene that is both scary and hilarious.

The film is dedicated to Jobson's brother, who did not escape the life of alcohol and violence and was murdered a couple of years ago. In the post-film talk at the Dublin Film Festival, Jobson revealed he had in fact run with the most notoriously violent of Edinburgh's youth gangs, until Skids took him away from that. This is quite obviously a very personal film and yet a highly aestheticised interpretation as well.

I did not want the film to end, and would gladly have sat through it a second time immediately. Maybe it's just where I'm at in my life right now. Maybe it's because I have spent so many hours over the years infiltrated by Jobson's aesthetic. Maybe it's just a damned good film.

'16 Years of Alcohol' won Richard Jobson the award for Directorial Debut at the British Independent Film Awards. It has received glowing reviews from Time Out, The Guardian, and Sight and Sound. It has played at festivals the world over. Forget the dismal comments of those too cynical to enjoy real film-making. See this poetic triumph for yourself.

Arguably, a bit better than Hallmark

[tributarystu · 6/10 · 5 November 2004]

Films about alcohol are usually depressing. They rob all the enthusiasm for life one might have in just a few hours and leave you staring into the void at the end, wondering what the point was. It's difficult to catalog them in any way, because a good "alcoholics movie" is one which swiftly flows along certain psychological retinues and steadily builds up to a mammoth of self deprivation.

However, this isn't truly a film about alcohol. It's more a film about getting a life (yes, Trainspotting), portrayed in a less imaginative way. It all gravitates around love and the end is helplessly tragic, but "Sixteen Years of Alcohol" isn't that bad. Some sweet imagery and photography might make it worth your time. Also, the story resides within the soul of everyone who suffers due to lack of purpose, not only those subdued to the magic liquor. It's a borderline movie: you may very well dislike it, because the storyline is crap. Like all those films which fit into this part of the movie-specter, "Sixteen..." has good and bad parts. Just to name one, I want to recall the "Clockwork Orange" scenes, which are a homage-like rip-off, that barely prove a point. Moreover, those scenes feel terribly frustrating.

All in all, it's not too bad and it could hardly have been better. No one need to watch it, but everyone is invited. Check out the party. 6/10

Give the guy a break, it was quite good

[anna-maclean · 6/10 · 3 August 2004]

I'm not a huge film buff but I went to see a screening of this film at the GFT in Glasgow on Monday and Richard Jobson was giving a Q & A afterwards.

Thought his answers to the audience were good and definitely helped make sense of the film a bit much. He made some really good points about the types of films coming out of Scotland these days and how he was trying to get away from that drab reality style we're used to seeing.

it's worth seeing anyway, I wouldn't write it off straight away.

Sparse and Barren!

[ed_two_o_nine · 6/10 · 30 July 2006]

This is a strange morose film. At times it felt like a full length student movie with little in the way of plot development but some interesting themes. It had some interesting points to make on alcoholism but was more a study of the drinking culture of the Scottish working class. The film was held together well by Andewr McKidd who occupies most scenes with some good supporting cast and a cameo from director Richard Jobson. A satisfying film though I am not sure I would want to watch it again. Judge for yourself is my strongest recommendation. All in all this is a good but not great film. Some of what saves the movie are the interesting camera shots and a great soundtrack that I will now definitely be seeking out.

Trying to hard to be deep and meaningful?

[ian-stewart1 · 2/10 · 4 June 2005]

There is a key aspect of film that Jobson seems to have forgotten - it has the ability to tell a story by showing it to you. You don't need to tell the audience what to think, because they'll see it. The action here is interspersed with some of the most ponderous narration unleashed on the unsuspecting public - the purple prose of the sensitive fifth former. And it should be unnecessary because their is a fine cast here and some beautifully composed and shot visuals. Maybe Jobbo felt that the basic story needed a lit bit of support. And he may have been right, it lacks a basic credibility: 70s Edinburgh wasn't exactly full of beautiful brainy girls with a penchant for the Velvet Underground and a soft spot for a passing sociopath. From the too neat and new looking clothes that character wears to the cod intellectualism that tries to link it all together, it's all too contrived for my taste.

Pure cinematic poetry - a must-see

[timbarr-1 · 10/10 · 30 July 2004]

From Kevin McKidd's stunning performance to the exquisitely shot Edinburgh exteriors, this is one of the most beautiful and evocative films I've ever seen. Anyone who grew up in Britain during the 1970s will recognise much of what's up on-screen. McKidd and Jobson have captured the teenage experience of those years perfectly and reproduce the entire register of repressed emotions and violent undercurrents with unswerving accuracy.

Naturally, it's a film about redemption - of sorts - but the tantalising, bitter-sweet promise of love and hope that permeates this film is delivered with a genuine toughness that sets it apart from the usual Brit-flick. File alongside some of the best European imports of recent years ... a wonderful and powerful movie that everyone should see.

Beautiful tragic story of everyone's life.

[t-mieczkowski · 7/10 · 26 October 2005]

"Sixteen Years of Alcohol" is a beautiful parable about a Scottish man who grew up into human society's trap of alcoholism and violence. A boisterous, loud-mouthed wannabe droog, the main character (excellently played)'s short, tragic life is recounted in flashback. Beautifully shot, this Scottish film has not received enough critical praise for its very artistic take on the self-destructive lives we all lead. The soundtrack is haunting and mesmerizing, the performances well-staged and inspired. The title card of the American DVD reads "A Clockwork Orange meets Trainspotting"; while this film parodies the former, it runs much closer to the latter in its themes of self-destruction and isolation. "Sixteen Years..." is a great meditation on human frailty.

A movie fan and alcoholics review: garbage

[Marevii · 1/10 · 17 June 2005]

This movie was terrible. The first half hour is much like a... well, apologies for the lack of articulation, but it was simply a bad version of A Clockwork Orange. The first scene is almost photocopied from one of the first in Clockwork! Supposedly it was a tribute, as per the appearance of the Clockwork poster on the protagonist's wall, however "ripoff" is the more appropriate word. The movie felt as though it was torn right from the Kubrick classic, only filmed through a new director's eyes. A blind director. Unfortunately when it stops its massacre of Kubrick's work, the film gets even worse. As another commentator said, the deepness of this film is just shoved down your throat. Arrogant, self absorbed and ultimately meaningless drivel.

Perhaps the protagonists ramblings would touch a nerve if there was any actual character development in this movie. I felt absolutely nothing for this guy. And I'm an alcoholic, so I figure that if anyone might be able to feel anything for him, it would be me. Awful character development, dialogue and plot.

The worst part about this movie is the title. For a film called "16 Years of Alcohol", the alcoholism is hardly a factor in the flick. See first paragraph - it was such a butchering of A Clockwork Orange I can't get over it. A more suited title would have been "16 Years of Violence," or, even better, "A Clockwork Banana".

Just do yourself a favor and avoid this movie. If you disregard my advice and take it out anyway, drink. Trust me.

Excellent, thoroughly worthwhile drama!!! The best film I've seen in ages

[wellthatswhatithinkanyway · 10/10 · 22 April 2005]

STAR RATING:*****Unmissable****Very Good***Okay**You Could Go Out For A Meal Instead*Avoid At All Costs

As a young boy,Frankie (Kevin McKidd) idolises his father,until he discovers him to be a philandering p*sshead.Years later,he's formed a violence gang with three of his mates,terrorizing pubs and record shops with equal disdain.But then he finds love and finds his faith in life being redeemed and decides to turn his back on his old ways and start a new life.But then,he finds turning away from what you know is not very easy at all.

The film is shot in a style and presentation that I wasn't expecting it to be.The style of the story unravelled in a way I wasn't expecting either.But,if these are the provisos for enduring such an excellent film as 16 Years of Alcohol,I'll happily accept them.

Everything about the film just comes together brilliantly and perfectly.The script is fantastic,carried by lead star McKidd with a sobering,haunting presence and delivery making astute observations about life and especially the relevance of 'hope.'The film plays some clever homage to ones that have gone before it,such as,most prominently,A Clockwork Orange and Enter the Dragon.

Frankie's story is extremely engaging,as we follow him down his path from a happy,idealistic young boy to a disillusioned young man who can't identify love to anything and can only see the hard,grainy reality of life and accordingly decides to follow suite,onto an older and more mature man,hardened by the realities of life but more adhered to them and functioned to deal with them more knowingly,only for it all to tragically come crashing down around him for one silly mis-understanding.

If a film like Trainspotting could have made it as big as it did,with a far superior script it's hard to see why this couldn't.But maybe this should be kept apart from a mainstream audience and kept firmly stuck in it's art-house roots so that it can be appreciated by those who truly can.It really is a fantastic experience,the best film I've seen in ages and one I'd whole-heartedly recommend you to see.*****

Interesting story and direction

[vdg · 7/10 · 15 February 2006]

I really don't understand how come some people trash this movie! There is nothing wrong with: the acting is quite good, the direction is quite fresh, the music rules and the story is reasonably good.

Yes, there are same scenes taken from Kubrick's work and the whole story is NOT original, but the setting in Scotland's capital is quite nice. I was pleasantly surprised by the actors,quite natural acting helped probably by a story that is very familiar to some of them:)

Overall this film is well worth it and would expand your horizon of good European movies.

A well deserved 7/10.

The worst of both worlds

[RadleyanQuickly · 1/10 · 12 February 2006]

This is only the second time I stopped a video/DVD part way through.

I was willing to give this film the benefit of the doubt at first, even though it managed to be both shallow, clichéd and stupid.. AND joyless, plodding and pretentious.

It was like an After School Special directed by that weird grade nine kid who thinks nobody understands him... creepy and sad, with voice-over narration that only the most deluded adolescent would consider poetry... and some singing, and... no, really, the poor child's suffering...

Enough, already, especially when it morphed into a brazen, clumsy, and insulting Clockwork Orange ripoff. And did I mention the singing?

This isn't the worst film I've ever seen, but certainly the one I've felt least compelled to sit through. I don't recommend it to anyone.

Patronising film & I felt nothing for the character. WE ARE NOT IDIOTS!

[epicedium · 1/10 · 7 October 2006]

I found this film embarrassing to watch. I felt like it was shoving the storyline down my throat as if I couldn't pick up the subtleties I needed a voice over to spell them all out for me constantly.

Having a father who IS still an alcoholic, I didn't really feel it was a film about alcoholism as such. Alcoholics, true alcoholics are very lonely people inside, in my opinion of course. They find it hard to communicate, something that the main character had no problem with really, except he DID have a problem saying I love you at one point- which was a bit of a feeble effort at establishing his cold character. He was constantly surrounded with people too!?

I felt cheated that at no point were we really alone with the character to really get a sense of his inner loneliness and turmoil. I couldn't connect with the character and felt no link at all considering my father. I felt nothing at all when it had finished, just relief it was over.

Kevin McKidd is an okay actor but not a tough guy feature lead! The clockwork orange thing was as subtle as a brick. McKidd was too old for the teen, they should have got three different characters or avoided the teen stage and concentrated more on the adult McKidd.

On a good note, I felt the little boy actor was really good at the start of the film!!

An unexpectedly great movie

[ratdog911 · 10/10 · 22 February 2006]

The title of this film is a very simplistic black and white understatement to a richly colored piece of art. The subject matter, alcoholism, and the toll it takes on society, it's children and young adults is approached and played out with great subtlety and artistry- this is no public education piece that preaches at the viewer. Rather, it seduces the viewer with excellent directing, fine acting, rich color, poetically minimalistic dialog and a great soundtrack. I was surprised to read that this was not in an accessible format- the copy I rented plays on U.S. video devices and computers with no problem at all. My only disappointment with this movie is the lack of an available soundtrack for purchase.

Pretensions without solid ground

[stensson · 5/10 · 29 April 2005]

One can't say that Scottish films about the 70s come to often, but this is one time too many. Kevin McKidd does the Edinburghian skinhead, who can't fight his past (or maybe that is what he actually does, beating people up). The past is a father who cheats on his mother and the son who never really get involved, never takes part in anything.

He is somewhat rehabilitated, or is he really? There is an intellectual narrator voice here in contrast to the violent acting of McKidd. Everything becomes too obvious, but that doesn't make things easier to understand.

A failure and only halfway interesting.

Beautiful, horrible and true

[nb_23 · 8/10 · 5 August 2004]

Of course Edinburgh was one of the stars of the movie so it was even more horrible to see the violence with my beautiful city as a backdrop. But that's partly why this movie made such an impact on me - yes, yes, it was a bit over the top and it was probably a mistake to allow Richard Jobson to be writer and director (just as it's usually a mistake to allow someone to star in the movie they directed - except for Clint Eastwood who is astonishingly good at using all of himself in his movies).

However, and it's a big big however, this was real. These people were real. Their lives and tragedies were real. The film was overwritten but overall lyrical and full of pathos. The images were wonderful (go on, admit it, you loved the sunset over Edinburgh's Folly!).

Ignore the detractors - go and see this movie to experience one side of Edinburgh life that you'll never see when you come for the Festival.

More dull dross from a pretentious Scotsman

[ismurderbad · 2/10 · 11 December 2005]

You can often tell a movie didn't turn out like it should by the heavy use of a narrator. This film features this device throughout. Richard Jobson not entirely content to write direct and even fund some of this film adds to his credits by reading excerpts of his own semi- autobiographical writing which combined with some pretty editing manages to gloss over what is a dull depressing tale which he must be mistaking for genuine art-house. Kevin McKidd puts in a good performance. Everyone else is okay.

Budget constraints meant that all scenes are shot in daylight though most are obviously meant to be at night, though if you know serious alcoholics they mainly operate in the day so for me it adds a touch of realism.

The funniest part of this film is a waitress who fails to age a single day in the 20 odd years that elapse between her appearances - a more extreme version of the problem McKidd has who goes from 18 to 30 without changing more than his clothes. Bless.

Pretentious "artsy" snooze-fest

[Kalle_it · 3/10 · 1 January 2010]

I got lured by the title... I was expecting an insightful and intriguing journey into alcoholism, instead I got a rather boring and uninspiring story about a rowdy Scot.

The leading character isn't given much psychological depth, unless you are willing to classify cheesy teen-like poetry as psychology.

It was a shame, because the core of the story could have been good, with a better effort to depict the inner feelings of a man who had to live with alcohol and violence since his youth.

Sadly, the general idea seems to be more like "I'm the way I am because that's the way I am". And the laughingly bad attempt at giving some sort of poetic edge to a lower-class man makes things even worse. Resorting to the overused cliché of the "poète maudit" reeks of a quick fix, a cheap way to make a dull movie seem smart, artsy and meaningful.

But "16 years of alcohol" isn't much smart, artsy or meaningful... The leading character doesn't evolve at all, and the feeble attempt of changing fails without a good explanation. Just like the initial attempt happened rather out of the blue.

The movie borrows heavily from classics such as A Clockwork Orange and Trainspotting, but it ultimately fails to recapture their greatness, not even for a few seconds.

Jobson put too much emphasis on the artistic side of the story, and neglected the rest, giving us a movie which is pleasant to the eye but insipid to the brain.

see this movie...wonderful casting and direction...powerful story

[spressarts · 9/10 · 2 January 2006]

I found this movie to be remarkable. I was captivated by the depth of each character from the beginning. The casting was superb. The dualistic forces evident in us all; the undertow of past conditioning and trauma and the propelling urge to transform, are pivotal in Frankie's story. Through the gifted performance of Kevin McKidd, I felt as if I was experiencing this developmental tension from the inside of him. Contrary to the title, alcoholism was rather a subtle subplot. There were no visits to a detox and in the one scene where we are led to a brief glimpse of an AA meeting, Frankie does not identify himself as an alcoholic. None the less, alcoholism provided a powerful back drop to the more obvious themes of rage, repression and the redeeming power of love and intention. Alcohol is portrayed as the catalyst to fuel the violence, betrayal and poor choices, the gage to measure the protagonist's progress and most important a means to pathologically cope with emotional pain and unresolved memories which thematically appear throughout the film. The richness and natural beauty of the women in the movie and the lighthearted romantic moments provided a welcomed balance to the intensity. The artful direction of incorporating stills with action as well as the thoughtful use of sound light and closeups further made this film worthy of high merit.

Sad, boring & pointless!

[pok-1 · 1/10 · 17 May 2003]

This film was a yawn from titles to credits, it's boring to the point of tedium and the acting is wooden and stilted! Admittedly this was director Richard Jobson directing debut, but who on earth green-lit a script as poorly developed as this one? Looks like another money down the drain government project (Scottish Screen are credited surprise, surprise). I nearly fell asleep three times and my review will unfortunately have to be more restrained than this one. Please, please mister Jobson what ever you've been doing prior to directing this sedative of a film, go back to it!

Pretentious drivel

[gary_mc · 4 September 2003]

Agreed, pretentious drivel, dull and impossible to care about! To me there were many, many problems with this film - the voiceover is very self-consciously attempting to be poetic but fails, most of the music is very irritating, loutish music for yobs not very popular even when originally released. The acting , Kevin McKidd's portrayal of Frankie is remarkably wooden for an actor that once showed such promise, how far he has fallen in such a short period of time. I suppose he suffered from poor direction, often the problem with a new and inexperienced director and producer afraid to keep his feet on the ground, pretentious aspirations have run riot, an attempt to make a "worthy" film, has unfortunately steered this ship on to the rocks of self indulgence. Agreed the story may be personal and minimal but in my opinion who should or could care about such ugly, cruel youths or their fates. I found my self almost immediately emotionally detached from all the characters though bored indifference. Comparisons to 'Ratcatcher' are truly laughable. Another film by a native of Edinburgh that made the Edinburgh Festival (historically automatic for any film ever made in Edinburgh) that also suffers from being shot on high definition for £450,000, for goodness sake with that amount of money the film could have easily been shot on superior 35mm film which would have made the film look much better rather than the 'Dogma' video looking quality print that I saw in Edinburgh, why do people working on tape always say that it looks so much like 35mm film, when to shoot on film would mean it would automatically look like film instead of automatically demoting the film to DVD/ Video sell through, because when projected the majority of cinema goers including myself hate paying to see washed out grainy, poor quality blown up video images. The direction will not move you I guarantee and as for the production values...who goes to see, rents or buys films for their production values? At the end of the day you pay your money to be entertained or moved and you will fail to receive either from this debut, sadly this film is pretentious drivel, the critics will slaughter it and the investors will loose their shirts, harsh but an economic truth. Yet another British embarrassment on its way to festivals guaranteed to be laughed at, with jaws dropped open in shock, by our American cousins.

A brilliant debut film from Richard Jobson

[deancocteau · 10/10 · 3 August 2004]

I have been a fan of Richard Jobson for many years, following his musical career with The Skids and The Armoury Show. So I was really hoping that this film would be a decent effort from Jobson as a debut in his new career as a film maker. I need not have worried for him as he has created a stunningly impressive first feature film. It is a film of great intelligence and thought, created with a great passion and craft and style. The acting was superb from the whole cast who were all clearly putting as much passion into the project as Jobson was. The music soundtrack quite brilliantly forms part of the story telling narrative and is not just tacked on. The cinematography is excellent simply stunning considering the shoestring budget that this film was created on. Whilst the story of the film revolves around alcohol fuelled violence with some harrowing moments , Jobson still manages to create some moments of genuine light hearted comedy so that the film makes you laugh and cry . The comedic parts are handled particularly well and do not appear out of place amongst the more violent moments in the film. This is a genuine must see film if you are a fan of real intelligent grown up cinema.

Unconvincing. Low budget no excuse.

[mcalwell · 3/10 · 22 October 2005]

This film limps from self indulgent moment to self indulgent moment, promising to develop into something worth hanging on for. But it doesn't. It's flat, self conscious, unimaginative and tedious.

A series of set images and backdrops don't make a film, they make a calendar. This kind of pitiful socialist pseudo drama documentary ("It's TRUE it REALLY happened") not only fails to entertain, it fails to convince, so it doesn't even function as social history. Clichés co-mingled with bad acting make this a film very difficult to finish, the amusement factor wearing off fairly quickly. The characters are one dimensional, never developing to the extent that one feels for them. The director's ego is the largest character in this film.