Cemetery Junction (2010)

Plot Summary: In 1970s England, the lives of three friends are forever changed when one of them bumps into his old school sweetheart.

Ricky Gervais and Stephen Merchant first made names for themselves with TV shows The Office and Extras, and rightly so. Both were cringe-inducing but hilarious and heartbreaking pieces of television that deserved all the attention they garnered. Putting aside Gervais’s State-side directing gig, The Invention of Lying (Merchant wasn’t creatively involved and it was a pretty poor film), Cemetery Junction sees both making the big move onto cinema screens. Cemetery Junction isn’t quite what you’d expect from the people that brought you characters like David Brent or Andy Millman, but instead sees Gervais and Merchant shifting gears somewhat and delivering a heart warming coming-of-age story set in the 70s. With Cemetery Junction both directors have crafted an astute and beautifully presented début that, despite being slightly too melodramatic and predictable, is as funny as it is moving.

Cemetery Junction creates a believable 1970s without relying too heavily on stereotypes, name-dropping or cultural iconography. Instead the film services its period details on a subtler level; snippets of overheard news reports, trends in fashion and a brilliant soundtrack all give you a sense of the times without shoving it in your face. The film is also beautifully shot; Gervais and Merchant paint a picturesque vision of the British summertime that creates an uplifting tone rarely seen in domestic films dealing with suburban life. Not content in just bringing a beautiful vision of Reading to the screen, the film-makers also leave room for some astute experimentalism with sound and image. A scene later on in the film in which a night out on the town goes horribly wrong features a nicely stylised piece of slow motion as images distort and sound deteriorates piece by piece.

Gervais and Merchant show no signs of losing their eye for character based comedy either. The inter-play between Freddie’s father and grandmother is priceless and the railway cafe owner is hilariously crude in a way only the British can truly appreciate. The laughs on offer here come thick and fast and come in a variety of forms (ranging from broad to contextual humour), but never threaten to overcome the dramatic tone of the film. The central plot of the film, Freddie’s attempt to find meaning in life and escape from his home town, is thoroughly moving and delivers an important, positive and up-lifting message. It’s when Cemetery Junction spends more time on its other characters, however, that it really carries some dramatic weight. Sub-plots focusing on Freddie’s best friend Bruce or his boss’s loveless marriage are handled with grace and are truly heartbreaking. It’s in these moments that the film transcends its funny coming-of-age genre template and becomes something far more emotionally rewarding.

All of this would of course mean nothing if it were not backed up with credible performances. Thankfully both Gervais and Merchant have assembled a brilliant cast which utilises a great combination of both new and old talent alike. Out of the three younger leads it’s Tom Hughes’s Bruce that stands out; his simmering rage and cocky stride hide a wealth of demons which are perfectly portrayed by the young actor. Elsewhere Gervais does well to cast himself in a small, comedic supporting role (not to mention Merchant’s brief but brilliant cameo) and veteran actor Ralph Fiennes does a terrific job with his self-centred and ruthless corporate boss, Mr. Kendrick. The true stand out performance here though is Emily Watson, playing Mrs. Kendrick. She has few scenes and says and does very little in them but Watson manages to provide the strongest emotional punch just by using her body language to convey a tragic world of isolation and regret.

Even though Cemetery Junction is an assured début, it’s by no means a perfect film. Gervais and Merchant do the best they can to prevent the film from being overly sentimental but a few cheesy moments still slip through. No matter how Felicity Jones delivers lines like, “Throw your heart out in front of you and run ahead to catch it” or “I think I might be in love with you too” (and Freddie’s annoying habit of repeating everything she has to say) they’re still going to sound melodramatic. Cemetery Junction is also extremely predictable as many moments in the film (including the films conclusion) will come as no surprise to anyone watching. All the loose narratives threads are tied up and everyone lives happily ever after. This, of course, comes with the territory but a couple of surprises along the way wouldn’t have hurt. Nevertheless, Cemetery Junction is a fine film from Gervais and Merchant and I wholeheartedly look forward to seeing what they come up with next.

Final Verdict: 8/10

Tony (2010)

WARNING: THIS REVIEW MAY CONTAIN SPOILERS.



Plot Summary: A thriller centred on a serial killer in a rundown London suburb.

A great film can be many things but, for me at least, the best films display either; a masterful level of artistry on a grand scale (Goodfellas, Seven Samurai) or an ability to get under my skin and truly move me (Control, The Haunting). Tony falls squarely into the latter category and has to be the best film I’ve seen so far this year. Unfortunately, it’s unlikely that most people have even heard of the film at all. It’s a low-budget British film that had a very limited release earlier in the month and, in what is becoming somewhat of a trend amongst similar films, went onto be released on DVD a mere three days later. This is a crying shame because Tony is a highly affecting film on the subject, the likes of which have not been seen since indie classics such as Deranged or Henry: Portrait of a Serial Killer.

Tony perfectly subverts the standard serial killer clichés in a number of ways. The audience are given no ‘normal man goes crazy’ first act, there are no police hot on Tony’s tracks and in a final stroke of brilliance he is not arrested or killed, but merely seen wandering the streets of London in solitude as the credits roll over the screen. The film is closer in tone to a kitchen-sink drama than Silence of the Lambs; a lot of the time we simply follow Tony walking around a drab looking Hackney or sitting around in his squalid flat in a council estate. The murders, and subsequent attempts to conceal the evidence, are shot in a documentary style while Tony goes through the motions in a calm and methodical manner. You’ll find no over-stylisation here; instead of glamorising these acts the film-makers have taken a more sobering, realistic approach which gives the film a highly disturbing feel. The film never becomes tedious however, as the tension is always taut and several red-herrings keep you guessing.

The central performance by relative newcomer Peter Ferdinando is outstanding and it would come as no surprise to me if we begin to see more of him in future productions. Ferdinando brings to Tony a fragile, lonely side which by no means makes the audience feel sorry for him but adds depth to a character that could easily have been one-dimensional and derivative. As the film progresses one begins to get a sense of his mental state, without it edging into pop-psychology territory. Tony wanders the streets of London talking openly to strangers, hanging out with drug addicts and going to a prostitute for company. Tony doesn’t kill because his Daddy sexually abused him; he’s a social outcast in a highly hostile and alienating environment who doesn’t know how to deal with it. Similarities to real-life murderer Dennis Nilsen are apparent but never overplayed and bring to the film a further sense of horrifying realism. Tony is most definitely not a sunny character-study but black humour runs throughout the film and keeps it from taking itself too seriously.

The camerawork and cinematography are particularly affecting and add much to the almost sickening atmosphere prevalent throughout the film. As mentioned, the film mostly employs modern documentary camerawork, but moments such as a long take of Tony’s ‘waste’ sinking to the bottom of a pitch-black canal or Tony’s figure shrouded in darkness waiting for the lift doors to close really enhance the feeling of his warped world. One extremely clever piece of camerawork starts as what simply appears to be a shot from behind a partially closed door, but quickly it becomes apparent, when a hand reaches out, that it’s actually a trapped victim’s point-of-view. Additionally, the soundtrack provided by British band ‘The The’ is aptly sinister, dark and moving.

Complaints could be levelled at Tony’s reliance on cultural stereotyping within the working classes but these characters (aggressive chavs, heartless dole officers and strung-out druggies) are extremely convincing and add to the general feel of moral depravity underlining the film. Others would protest that the film adds very little to the genre, especially since it bares many similarities to the previously mentioned Henry, but those films are now dreadfully dated and few are set in inner-city London or told in such a direct manner. My only grievance is that the film is too short; coming in at just under an hour and twenty minutes long. I could have happily watched a three hour version of Tony and did, admittedly, feel a little short-changed. Nevertheless, and while clearly not for everyone, Tony is a highly gripping and uncompromisingly bleak film and one that will stay with you for days, if not weeks, after it has finished.

Final Verdict: 9/10