The Double

Richard Ayoade’s second film and follow up to 2010’s critically acclaimed Submarine is The Double, a dark comedy based on Fyodor Dostoyevsky’s satirical novella of the same name. Set in a subterranean hinterland of unknowable time and location, the film follows the life of lonely, ignored and unseen data imputer Simon James (Jesse Eisenberg). Simon floats through life unnoticed by those around him, stating that he feels as though people could almost reach through him as though he wasn’t there. When a new co-worker is introduced, Simon is shocked to discover that he looks and sounds exactly like himself. His doppelgänger though is everything he is not; cocky, outgoing and highly visible.

The Double could easily have been a film that was known for its story. Based on the work of one of the literary greats of the nineteenth century, the film has the narrative already safely mapped out and it indeed delivers an interesting and complex story. In the hands of Ayoade though, this film will be remembered for more; chiefly its design and sound. Richard Ayoade has constructed a magnificent film that evokes so much but remains unique. It’s beautiful and funny, grim and depressing all in equal measure.

Dead Man's Shoes

Dead Man’s Shoes is a psychological revenge thriller, co-written and directed by the toast of the British critical community, Shane Meadows. Writing with Paul Fraser and Paddy Considine, who also stars, the film focuses on the return to a small northern town of an ex-soldier who reappears after his little brother is humiliated by a group of local drug dealers. The film opens with little back story and reveals itself through the use of grainy, black and white flashbacks, building a picture of the events which lead up to the current plot as it progresses in ever more violent and sadistic ways. It saves its biggest and best reveal until close to the conclusion in a feat of wonderful storytelling which put a delicious cherry on top of an already appealing cinematic cake.

Although Shane Meadows is considered to be one of the brightest talents in UK cinema, I’ve never really found myself that blown away by his films. I can appreciate his style and especially the way in which he gets his films made but they’ve never done anything for me. This changed with Dead Man’s Shoes and instantly became my favourite film from a director I hadn’t really got until now. Not only do I think it’s one of Meadows’ best but I’m struggling to think of a better independent British film from the past decade too.

A Room for Romeo Brass

A Room for Romeo Brass is a film which reminded me of several things. The strong accents adopted by the characters reminded me of my time in the East Midlands while at University and Shane Meadows’ gritty, personal, social realist style felt like a re-imagined Ken Loach. The film tells the story of two young boys who meet an older man and start hanging around him while he attempts to get one of the boy’s sisters to go out with him. It’s a simple premise but makes for an absorbing plot thanks to a well written and natural script alongside some fine performances.

The film sees the big screen debut of Paddy Considine, an actor who has since worked with Shane Meadows on several occasions and has cemented himself as one of Britain’s most exciting acting talents. Not only has Considine had mainstream success in The Bourne franchise but also directed the multi award winning Tyrannosaur in 2011. Acting alongside the talented Considine is another frequent Meadows collaborator, Andrew Shim, who plays the title role of Romeo. The movie is driven by Considine though, through the early stages of exploratory and slightly comedic development, towards the latter stages in which the character and film become much darker, Considine is a magnetic and welcome presence on the screen.

Le Donk & Scor-zay-zee

Shane Meadows (This is England) directs this mock music documentary about Le Donk (Paddy Considine), a Nottingham based roadie working for The Arctic Monkeys and managing rapped Scor-zay-zee (playing himself). The film blends reality and fiction and is set and filmed in five days leading up to an Arctic Monkeys gig in Manchester. Le Donk has recently separated from his pregnant girlfriend (Olivia Coleman) and travels to Manchester with Scor-zay-zee for work and with the hope that he can somehow get the rapper on the bill at the gig.

Paddy Considine is brilliant as Le Donk and carries the entire movie. Most of his lines are improvised and the majority work, with hilarious results. He appears to be channelling David Brent and Alan Partridge at times but is thoroughly convincing.  The film itself outstays its welcome after about 45 minutes. Despite a promising start the joke kind of gets old by the mid way point and although the film comes in at only 71 minutes, it feels long. I couldn’t help feeling that it was more suited to TV and perhaps would have worked better as a 45 minute or one hour special. I’m glad that I didn’t see it at the cinema myself.

Tyrannosaur

Tyrannosaur is the fantastic debut film from actor Paddy Considine. The film focuses on the lives of two people who are bought together through their mutual loneliness and apathy towards life. Joseph (Peter Mullan (NEDS)) is an unemployed drunk, a violent man who is on a path to destruction. After killing his dog in a fit of rage he seeks shelter in a charity shop where he meets Hannah, (Olivia Coleman) a Christian charity worker for whom life seems good but as we learn more about her we discover that she is just as damaged as Joseph, if not more so.

This is not an easy film to watch. It is most definitely not a Friday night popcorn kind of movie. It features abuse, degradation and violence from the onset and that sets the tone for the rest of the film. Some scenes are very upsetting and difficult to watch. Despite the despair and humiliation on screen, the film looks very beautiful. The shots of council estates on cloudy days are stunning. Considine has found beauty in a place which is known for being ugly and grotty and that is a testament to him.

The acting is tremendous. There has already been a lot written about Olivia Coleman’s award snubs and having seen the film, I couldn’t agree more. I’d also put forward the case for Peter Mullan who is equally sublime here. Both actors are incredible throughout and that is what makes the film so great. I don’t know whether the film would have been so good had they not been involved. I really feel that it is a travesty that neither has been nominated for any major awards. This being said, both have won awards but it’s their lack of BAFTA and Oscar nominations that has surprised everybody, me included.  

This is a film which can hardly be described as enjoyable but is powerful and incredibly well acted.

8/10