Cherry Tree Lane

Cherry Tree Lane is a 70 minute Funny Games/Eden lake-esque 'horror' that sees a bunch of teens terrorising a not-very-happily married couple in North London. Despite the ridiculously short running time, Cherry Tree Lane is LONG. Too long. I found myself drifting in and out of consciousness listening to the pointless conversations that this film includes. Moments include the leader, shall we say, eyeing up 42-year old Christine, telling her to stand up "to see how fit she is" whilst her husband, gagged on the floor, is yelled at "don't look round at me, blud!" So basically, it's a group of chavs armed with knives, stealing credit cards and biscuits. They aren't JUST after money though, they want the couples son who's apparently not been able to keep his mouth shut about someone cousin...or something along those lines. There were some nice slow motion shots, but other than that, it's a very simple film with the only location being the house, well, the living room. There were a handful of tense moments that had me remotely wondering what was going to happen, however, it's all rather predictable. I didn't REALLY care what was going to happen at the end, although, I did hope the couple would execute some revenge if they were to escape. Overall, it's not the worst film in the world, but it's definitely not the best of it's type; Eden Lake and Funny Games are a lot better..and the teenagers seem too stupid in Cherry Tree Lane to carry out anything too horrific.

Cherry Tree Lane is an urban thriller about a couple whose home is invaded one night by a gang of youths who wish to harm their absent son. While they wait for the boy, they mete out some physical and psychological torture. Like all house-invasion movies this is a very disturbing film. It's not entirely dissimilar to notorious exploitation films such as House on the Edge of the Park (1980). Although, admittedly, the sexual violence in this thriller is committed off-screen unlike that earlier film's non-stop barrage of sexual assault. Nevertheless, Cherry Tree Lane is certainly in the same general ball-park, just toned down and with better acting performances.

All of the action is restricted to the interior of the house at the fateful address, generating considerable claustrophobia. The villains are typical London gansta youths - this is a house invasion movie for the hoody generation. It plays on middle-class fears of gangs of violent working-class youths. The young hoodlums seem to have come from a different world from their victims. They have no use for the contents that make up the unfortunate couple's home such as bottles of red wine or their DVD collection. This uneasy chemistry adds to the tension and adds a different undercurrent to proceedings. The film does stretch believability a little with the introduction of two teenage girls and a young schoolboy into the fray; they act as if this is a normal night out but it just seems inconceivable that they could be so blasé in this extreme situation. Nevertheless, the introduction of these characters does allow for the set-up in the final scene in the movie, in which things are left hanging on an unanswered question that leaves the viewer wondering if the horror of the night has in fact ended at all.

Overall this is not an easy film. It's intense and sometimes difficult to watch, and it truly offers no respite by the end. So Cherry Tree Lane is certainly not a film for everyone. But for those with a mind for something dark and troubling, it's a journey worth taking.

Cherry Tree Lane is written and directed by Paul Andrew Williams. It stars Rachael Blake, Tom Butcher, Sonny Muslim, Jumayn Hunter & Ashley Chin. Plot finds middle-class couple Christine (Blake) & Mike (Butcher) suffering the ultimate home invasion hell when one night three youths force their way into the house looking for their informant son.

It's the sort of plot that could have been gleaned from The News Of The World on a Sunday morning. Whilst not as horrific as Eden Lake, or as far fetched as Harry Brown, Williams' third film unsettles from the off and has much to say along the way. We begin with a slow zoom in shot of the front of the house, a middle-class suburbia that's comforting and a world away from the horror about to be unleashed. Then inside and Williams appropriately films an untended cooking pot coming to the boil as Christine chats on the phone in the back ground, the simmer to boil motif neatly setting us up for what is to come. Told in real time, Cherry Tree Lane's story never leaves the house, claustrophobia reins as our couple are trussed up and subjected to a terrifying ordeal. Pretty sparse in set up and location, then, but this is not just an excuse for some terror. Williams goes a bit more deeper with his themes, daring to delve into the psyche of Britain's unruly youths, neatly observing cultural class division and the ever widening gap between the generations. It's darkly humorous at times too, the bleakness of which has a cheek about it as the story runs its (collision) course.

Where Cherry Tree Lane differs from other film's of its ilk is that the violence is mostly done off camera, mercifully so during one extreme passage. The power of suggestion really comes to the fore as we hear but don't see. This lack of on camera violence will disappoint those who need it in their horror diet. So be advised gore seekers, this is unlikely to be the film for you. Williams also faces the problem of trying to avoid comparisons with the afore mentioned other film's, the likes of Funny Games and The Strangers. It can be said that the home invasion format is most likely now looking a bit tired, to that end Williams' British take is likely to only resonate with the self aware British public. But it is challenging and confrontational. The ending is a little too abrupt, and perhaps inevitably-implausibility creeps in. But for the most part this is unnerving stuff, a chilling tale executed with a realism that's not found in more glossy productions: with the final shot astutely serving to keep us agitated. 8/10

Another hoody film.

A boring couple have their home invaded by some scumbags looking to exact revenge on their son. The usual tying up and degradation of the main characters takes place. The problem is I didn't care about them. The characters were so clichéd and one dimensional that I felt nothing for them.

The lead thug is just a ridiculous ball of unthinking testosterone that he's unbelievable. Couple this with his sidekick thug with a heart and it just gets stupider. I spent the whole film just hating the main thug, which I suppose was the intent. But I was just waiting to see him die and had no interest with anything else. Then just when you think the limits of believability can't be stretched any further, the thug's girlfriend shows up with her little brother in tow to watch. I think even an idiot would doubt a school child's ability to keep his mouth shut about witnessing the events which take place, but they let him stay all the same.

I'm not really a fan of the this kind of film but I had enjoyed the directors other films so I thought I'd check it out. Now I've seen it I never want to see it again.

Doing a bit of channel hopping tonight and we came across this movie. My other half almost instantly wanted to change channels as the description of a psychological slasher piece involving some revengeful teenagers didn't appeal to her on any level. I protested and said let's at least watch the start and see how it develops. And I'm so glad we did.

It's a quite tense and edgy piece that could easily be a stage show, all very contained. The acting is pretty good, the script is basic but it does the job, the plot is nothing more than you'd expect. Yet somehow the whole thing is greater then the sum of its pieces in my opinion.

Even though I don't have any great affection for the characters, I found myself rooting for them, or laughing with them, or sighing with them. I think this film does moral terpitude very well, I think it largely avoids cliché, even though the subject might feel that way sometimes. I don't know how I missed this three years ago, but I'm glad to have caught up with it now.

Elements of Straw Dogs perhaps, although this feature manages the central dilemma of that horror in a much more intelligent fashion. I think that's what I enjoyed the most really, the way it did horror through implication.