Tag Archives: Shane Meadows

24 7: Twenty Four Seven (1997)


Shane Meadows is one of my top favorite filmmakers, so although “Twenty Four Seven” is not bad at all, it’s a bit of a disappointment with my expectations set so high. It is a well-intentioned independent feature featuring Meadows’ trademark working-class Brits, and sporting a slightly confusing ending. It lacks Meadows’ usual intensity, and although it has a pretty decent story to tell, I often found myself getting distracted.

Good-natured and dedicated, Alan Darcy (Bob Hoskins) starts a boxing club to bring focus and passion to the kids in his lower-class town’s lives. The kids, who have little to do but mingle and get into trouble, are initially wary of Darcy’s enthusiasm, but eventually they find that boxing is a good outlet for their rage and frustration.

Darcy tries to provide guidance to the disaffected working-class blokes in his neighborhood, including abused teenager Tim (Danny Nussbaum,) sadsack drug addict Fagash (Mat Hand,) and a lonely fat kid uncharitably dubbed ‘Tonka’ (James Corden,) but finds himself becoming increasingly frustrated with the town’s limited options.

When Darcy borrows stolen money to help set up his boxing club, I expected something to come of it, but nothing really comes of the plot thread. I liked Darcy, Tonka, and Tim but didn’t find the characters as compelling as in some of Shane Meadows’ other films, like “A Room for Romeo Brass,” a film I gave 5/5 stars to.

The more I thought about it, the more I had problems with the ending, which I found increasingly unclear. What exactly happened to a certain despicable character, and are we supposed to believe that that certain someone would have a road to Damascus and show up at the funeral at the end? Pfft.

Nevertheless, Bob Hoskins did a good job playing a compelling character, and Shane Meadows’ potential was evident from early on. The home-video footage of the young boy at the beginning was not really crucial to the plot, but I liked it anyway as it fit the mood of the scene.

I would only really recommend this movie to Shane Meadows fans who are curious how his career progressed over the years. It was worth watching once, definitely. The absence of Paddy Considine (“Dead Man’s Shoes”) or Stephen Graham (“This is England”) was disappointing, but Bob Hoskins did a good job as the idealistic protagonist. An interesting movie, if not exactly fulfilling.

A Room For Romeo Brass (1999)

Shane Meadows knows how to do a slow-burner. One of Britain’s most powerful filmmakers, Meadows is a master of racketing up the tension in a seemingly ordinary situation. Never stupid, never sensational, he casts his unblinking eye on modern life in the UK and the fragilities of human relationships. If I had to choose between Meadows and Mike Leigh, I would pick Meadows, every time.

“A Room For Romeo Brass” is about how an ordinary friendship can undergo extraordinary duress when a dangerous third party is added to the mix. Two preteen friends, white Gavin and mixed-race Romeo share a brotherly bond that is equal parts camaraderie and constant teasing. Gavin (Ben Marshall,) called ‘Knocks,’ has a bad back and a limp, and is in transition to another surgery.

He’s always up to a bit of mischief, and Romeo (Andrew Shim) is his softer-hearted other half. When a man named Morell (a very young Paddy Considine) rescues Gavin and Romeo from some bigger boys, he seems like a harmless, if eccentric, addition to the group. With his ‘Simple Jack’ haircut and halting speech, he doesn’t readiate ‘cool,’but he is friendly and can tell a sensational story like anyone.

The thing about these kinds of stories is, if they sound too good to be true they probably are, but this matters nada to the boys and one of them, Romeo, is sucked in by his dynamic personality. Gavin thinks that Morell is a sucker and good for a mean practical joke. He’s deadly wrong. As Morell reveals a dark, violent side, Romeo and Gavin’s friendship is tested to it’s outer limits.

Shane Meadows found two good little actors in Shim and Marshall, but Considine is the main draw here. Considine, who would later astonish audiences, including myself, in Shane Meadows’ grungy revenge indie “Dead Man’s Shoes”,┬áputs a unique spin on a character who is probably suffering from an undiagnosed mental disorder.

Like “Sling Blade”‘s Karl or “Buddy Boy”s Francis, Morell’s uniqueness is electrifying to watch. At times I was wowed by this apparently simple man’s ability to coerce and manipulate, and wondered if his limitations were a ruse and he was, in fact, a very clever psychopath. The truth is much more complicated.

Wait for the precise moment when the up-til-then likably dotty Morrel becomes suddenly sinister. It’s mind-blowing. “A Room for Romeo Brass” glues your eyes to the screen, and tells a intense story about friendship and betrayal, about a wolf in sheep’s clothing who fleetingly wins- if not earns- our sympathy nonetheless. With it’s three-dimensional characters and incisive writing, it’s nothing less than riviting. Bravo, Shane Meadows. Keep them coming.

Dead Man’s Shoes (2004)

Bloody and brilliant, “Dead Man’s Shoes” is an emotional rollercoaster from beginning to end. The 57% rating on Rotten Tomatoes is both a crying shame and a sacrilege, because this is Shane Meadows’ masterpiece — a film that transcends the revenge genre, delivering a heart-pounding, intense story that lets events unfold in a way that is anything but simple.

Richard (Paddy Considine) returns home from military service with no intention of living a nice quiet life and settling down. The target of his rage: a low-rent drug gang that did some terrible things to his borderline simple brother Anthony (Toby Kebbell) some time before.

After Richard threatens a drug dealer and later gives him an unsettlingly twitchy apology, the gang of thugs suspect that ol’ Anthony’s brother might be a few screws short of a tool box, but don’t know how to react. Sonny (Gary Stretch), the most sadistic and smartest (and in a group like this, that’s not saying much), takes charge as best as he is able, but they are no match for Richard’s cool-headed brutality and military training.

This is when things get decidedly more ambiguous. What exactly happened to Anthony? What parts of Richard’s viewpoint are unreliable? When he faces the thug who has broken off from the gang and raised a family, Richard grows less and less sure of himself, leading to a shocking conclusion that rivals the majority of thrillers in its freshness and great writing.

I’m not exaggerating when I say that Paddy Considine’s performance here is one of the best acting jobs I’ve seen. He makes Richard thoroughly believable and doesn’t stoop to any tough-guy cliches. What Richard lacks in size, he makes up for in calm, calculated violence. His performance is powerful and a testament to lesser-known actors who seem to slip through the cracks all too often.

Toby Kebbell, who gets overlooked all too often is also very good as Anthony, a simple-minded fellow whose naivete proves to be dangerous as he navigates a rough area without his older brother, who he looks up to, to protect him. He is very believable playing a mentally retarded character, and doesn’t overplay his hand or make his character a ham-fisted caricature.

The other actors never match up to Considine’s ferocious portrayal of a vengeful loner, but they do fine on their own. There’s a scene between the reformed drug dealer and his wife that is very powerful and moving, and the thugs do good job as their drug-hazed obliviousness turns to fear.

There is also some humor (mostly derived from the stupidity of the antagonists) and some tender moments between Richard and his brother. “Dead Man’s Shoes” proves there is still some smarts left in the thriller genre, and boy do I love it for that. It benefits from a smart script and a blistering performance from Paddy Considine. Watch it, and you will not be wasting your time. I didn’t waste mine.