Franklyn

I liked it, believe it or not. it's not the common sci-fi stuff that you usually see out there. is different, incredibly artistic, not bad but not that good either.

the cast is simply amazing. Sam Riley is good as always, Eva green gets the biggest role and rocks at it, an Ryan Phillipe really surprised me (he didn't like him much before this movie).

i enjoyed it, i think it has some flaws, but in the end it is just what it promises to be: unusual and artistic. if you're a "classic movie" lover, you will not appreciate this movie at all. i've you're a "new wave" kind of person it's a must-see.

This movie really is difficult. Not only to describe (it is far too complex for it's own good/commercial success), but also to watch and follow the plot. While there have been other movies who played with the time factor (and/or other stuff, which I won't say anything about here, so it won't spoil anything for you), not many refused to explain themselves to you.

In other words: While many other movies with the same or similar theme, show you the same scenes twice (or maybe even more often), this movie does not give you this luxury. You have to stay focused to get it. Of course the main plot and the big details will be easy to grab. But again, only if you let yourself into the movie. But this movie allows you to watch it a few times and catch nuances, small things, you might not have seen/understood, the previous time(s) you watched the movie. A complex, but rewarding viewing experience then

It appears from the comments left already that the movie Franklyn has beguiled its audience. I too was at the BFI screening, but I was far from enamoured by what I saw.

The cinematography was weak for a feature. TV OK, but not cinema. It was obvious, leaching from Gilliam and del Toro, but without the grand aesthetic. I was hugely impressed by the production design and the CGI/graphics, but it was spoilt by some pedestrian direction. I desperately wanted this film to fly, to show off, but it never really got off the ground for me.

Yes it is highly derivative, taking chunks from so many other texts; films, comics, books and TV shows, that in my honest opinion been done better elsewhere.

The use of colour and grading did nothing to help the poor use of lens and framing or to aid the differentiation of the narrative strands for the characters. Instead I was left having to acknowledge flashbacks, scene changes and internalised daydreams by chance rather than be led through. (note, not spoon fed)

The narrative(s) itself is an absolute mess and I would have been glad of the opportunity to ask the director was the edit we were presented close to the original script. It appeared that the fantasy had been brought forward and scenes rearranged to monopolise on the genre elements above the conceit of the intertwined plots. It fails to deliver in the same way as 21 grams does with multiple character narratives. I personally feel that it would have worked better presented in a Rashomon fashion. Alternatively this could have made a good TV series.

This resulted in a film that is as schizophrenic as much as confusing, relying on an awful Blade Runneresque narration to gloss over issues within the film.

The audience's attention is abruptly chopped between plot strands, prior to any real comprehension of the characters can be established, and thus distancing the viewer from emotional engagement, a key device in drama.

We don't care about anyone in the film

To confuse matters further, a second character is given narration, but not the third and fourth. This is one example of the deep inconsistencies with which the characters are handled.

Which protagonist's view point do we associate ourselves with at any time?

The symbology, icons and themes were poorly handled and desperately needed greater foregrounding. Cinema is a visual and sound based medium, but one does not need endless scenes of two characters talking, to comprehend the story.

Show don't tell

The music was insipid. No more to say

The film had moments that demonstrated potential, but without emotional engagement the 90+ minute running time felt much longer. I will admit that the final scene is good; paced, acted, emotional and dramatic. Bravo, but it left me feeling that if this was possible, then why did it not manifest earlier. Why direct one good sequence at the end?

If you have little money then make sure that you amp up the emotional intensity.

I must say that it did do a great thing for me and that was to give me a kick up the arse and realise that I should be directing my first feature sooner rather than later. Thanks Gerald

If you like dark, Gothic movies with both style & intelligence, this one's for you. First-time director/writer Gerald McMorrow makes a great debut with "Franklyn", a cryptic fantasy-thriller about 4 lost souls in different times & places, bound together by a mystery that slowly unravels to a brilliant climax.

The story is told in fragments, and if you're not paying attention you might easily get lost. But that's what makes it so rewarding when you start to figure it out, and you realize what these people have in common.

Most of the action happens in a nightmarish, dystopian world called "Meanwhile City". These scenes are reminiscent of the haunting works of Alex Proyas ("The Crow", "Dark City") with bits of Frank Miller's comic book style ("Sin City", "The Spirit"). There are also some refreshing, humorous nods toward Terry Gilliam ("Brazil", "12 Monkeys"). But what sets this apart from those dark, shadowy films is the juxtaposition of contemporary London, bright & crisp, like something you'd see by the German master Tom Tykwer ("Run Lola Run", "Heaven", "Perfume").

If you don't recognize all those names, don't worry. The point I'm making is that McMorrow's directorial debut has elements of many great directors tied together in a fresh, original way.

There's not as much action in this film as in most fantasy-thrillers. Depending on how you like your movies, that's either a good thing or a bad thing. I thought it was perfect because it lets the story breathe, and it gives us the chance to digest the slowly-unravelling mystery. There are interwoven themes touching on religion, individuality, family, fate, love & hate. And psychosis, which always makes things fun.

And even though it may be light on action & explosions, there's tons of nice eye candy to keep you riveted. Speaking as a hetero male, by "eye candy" I mean Eva Green and her sexy goth wardrobe! (If I weren't such a hetero guy, I'd be tempted to become a cross dresser.) The 2 leading men are quite the lookers, too, both suave & classy in their own way. And if that's not enough eye candy, you can't miss the enormous sets & wide angle shots: breathtaking.

If you're a fan of any of the directors/films I mentioned above, don't hesitate to check this out.

I've seen a few movies similar to this, using sci-fi/fantasy imagery to portray an internal state of mind. Too intellectual for some I guess, and it definitely goes beyond 'what you see is what you get'.

This movie worked for me. Some have been critical that the characters in the film were not interesting enough. I on the other hand think the director/writer Gerald McMorrow successfully walked the thin line of saying just enough, enabling the actors to fill in the gaps and create personas rather than cookie cut-outs. The characters were memorable and real, responding to slightly surreal situations in two worlds that were both out of kilter with our own. The movie's alternate realities drew me in and kept me interested, and the eventual juxtaposition of both did so even more.

This is a smartly made movie - with very convincing CGI for the fantasy world combined with an almost indie sense of the intimate and human in the alternate world closer to our own.

Well this review is not much of a blow-by-blow synopsis, others can do that, but if you appreciate strong acting, and an imaginative script, I don't think you will be disappointed.

7/10