City of Tiny Lights

There appears to be something wrong with the sound mixing, perhaps a post production goof but this film is very hard to follow as the dialogue is lost in the background noise.

I might add that I am both British and used to London and regional brit accents, yet I still struggled, In the interests of full disclosure, I never made it to the end of the film due to said issues, so my low score reflects my dissatisfaction with the audio quality.

Learn to lip-read, or avoid

Persevered with it till the end but it was a very thin plot and not very exciting.

Can't really blame the quite good cast and I agree with some other reviewers that sound quality was very poor.

I really enjoyed this British take on the noir genre. It had a sensitive and moving performance by Riz Ahmed as a troubled PI. The plot, like all good noir, is satisfyingly layered. In addition to being an excellent whodunit, it addresses Islamophobia, the treatment of immigrants and the growing feeling that there are hidden agendas that affect our everyday lives. Not high budget or flashy but very well done. Highly recommended.

Private eyeing in present day Britain is a rough proposition. Guns are illegal, and then there's the whole immigration tension going on. Tommy Akhtar (wild eyed Riz Ahmed) is a typical, hard-drinking, tough talking, fistcuffing gumshoe with a heart of gold, trying to solve a missing Russian escort case whilst his very complicated past comes back to further cloud the perpetually rainy skies of London.

Ahmed is perfect in the lead, offering equal parts macho and empathetic soul; the gutsy dick able to take a beating, romance a good woman, and stand loyally by his loved ones.

"City of Tiny Lights" uses interesting political bents with religious, racial and drug tensions seething in the background, showing England for the explosive melting pot it truly is. Beautifully shot in wet, dark London, sparkling with Christmassy bokeh lights popping out of ominous shadows, this is one gorgeous looking film.

A little messy and cacophonic at times, this stab of celluloid is saved by a splashy, vibrant style that is pure eye candy.

"I deal with the lies people tell, and truths that they don't," says Tommy, a London detective. Everyone has secrets. Tommy enters the underworld of the big city in search of a missing woman. Along the way he revisits intimate betrayals, a tragic accident and an ex- girlfriend in a love triangle. Tommy struggles with his moral compass in such matters of the past. This inner struggle is worse than the storm of trouble of the outside world – which, by the way, includes terrorists, government agents, and shady real estate agents - for without knowing his heart or who or what to rely on, how can he react? What direction does he go? Who can he trust if he can't trust himself? Martin Luther King said it best, "if you don't have anything you are willing to die for, then what do you have to live for?!"

From the director of Dredd, which I loved, this film was eight years in making. "Cinema should address such stories," said the director "it takes people to wholly different place." I think what Travis is getting at is that this Pakistani detective story gives us a glimpse not only of the London underworld but also of a very different perspective than many people are familiar with. The film delightfully incorporates lessons from the game of cricket including getting in the head of opponents (as with baseball, there is not much physical activity going on in cricket, and it is more of a mental game rather than a physical challenge for participants of this sport).

It is wonderful seeing the film in a packed theater and on the big screen. As characters enter a nightclub, the seats vibrate with the throb of the base speakers kicking in. Americans do not understand why the detective doesn't have a gun, but they are illegal to possess in the U.K. There are camera shots from drones that add interesting angles to the filming location. Funny moments include a lot of escort jokes. "I'm surprised you showed up," said an escort to a detective. "Why are you surprised?" "People pay me and I don't have to come," she says. Even though the film is in English, it would be easier for North Americans to understand if there were subtitles or a phrasebook handed out at the start of the film for the wacky U.K. vocabulary! The film began with depth, energy and power, yet this promise was squandered. There were not that many twists to the story. World premiere seen at the 2016 Toronto International Film Festival.