Frauds

Offbeat, a little unnerving and completely bizarre, Frauds sets a challenging tone for a supposed comedy from the offset with a bit of casual child death. However, when the film in question features Phil Collins talking into a Lego Phone rapidly intercut with extreme closeup shots of the woman on the other end, it's hard not to get invested in the madcap and wacky mania of it all. Stephan Elliott directs the film with a brilliant amount of Ozzy absurdism, the tones don't always mesh well together, jumping from between being a darkly comedic thriller to an outright horror but his pension for visual inventiveness more than makes up for it, playing like a sadistic funhouse ride. The performances all around are great, especially from Hugo Weaving but Collins steals the show and is easily the best part of the film, bringing an exorbitant amount of manic energy to his role, one that feels as if Phil the Shill from Miami Vice had gone completely loco, once again making me wish that he did more live-action roles. Granted the soundtrack is a bit naff, a bit too jaunty here and there and one that really could have used Phil's magic touch, but for all its faults, Frauds is a delightfully deranged little film, certainly a roll of the dice for its viewer but one that's a blast from start to end.

"Frauds" is a well acted, weirdly entertaining sadistic fun house ride. Phil Collins, who quite frankly can quickly wear thin, uses that annoyance to full advantage while putting the squeeze on husband and wife Hugo Weaving and Josephine Byrnes. Insurance fraud leads to blackmail and a living nightmare in the form of insurance investigator, Collins. The most intriguing part of "Frauds" is most definitely Collins's neon lit fun house where he resides. That imaginative set piece drives this film. If only it had concluded in a more satisfying manner. The resolution is indeed the weakest part of an otherwise winning movie. - MERK

Watched this one not feeling totally sure how well I'd enjoy it. It seemed like a low budget film which may be amusing for a while then fizzle out, but I'm happy to say I was well interested throughout the film.

The first 5-10 minutes felt a little choppy, like a very rough cut of the film trying to show us a noteworthy aspect we should keep in mind and doing it more haphazardly than it means to. Once we're into the "present time" I guess you'd say, the editing levels out. It feels almost like a kid's movie at times, though with a more adult-but-still-a-bit-silly theme about it.

I don't want to sell this as a "silly" movie. It certainly feels a bit silly at moments and has several moments of questionable setups, but it works for the world that's been setup for us. At least, if you're into the film, it works. One does have to let logic go a wee bit to enjoy this film. If you can't do that, this is probably not the film for you.

Phil Collins is delightfully fun in his sleezy role. I haven't seen him on "Miami Vice," but this is very much how I imagine his character on that show to be like. Really all the acting is good in this. Hugo Weaving and Josephine Byrnes are both terrific; I really liked them more as the film went on.

This is the first film of Stephan Elliott's that I have seen, and based on this film, I am interested in seeing more.

I am giving this a 7 because I did enjoy it overall. It's a fun, light film with a dark twinge to it. It's not a deep film, there's not a lot to take away from it, it didn't make me feel anything substantial. It was a good watch though. I would certainly be game to watch this again in the near future.

This is weird but wonderful movie that you are going to either love or hate. Phil Collins plays the role of Roland Copping, a creepy twisted insurance assessor with an evil sense of humour, really well. In fact the acting by all is good and would highly recommend you get the popcorn in and enjoy the fun of a movie that threatens to be scarier than it is.

I had a vague memory of this film from my childhood and it was a lot of fun to revisit it a couple of decades later. It has a bizarre aesthetic and some seriously wooden acting (particularly in the early scenes), but once Phil Collins enters the action, the film hits its sweet spot in the second act before going off the rails towards the end. The characters all make weird, bonehead decisions, which is infuriating because the end product could have been so much better. Still, I enjoyed the brazen bizarreness of it all and for originality alone it scores in the positive. Incidentally you can (at the time of writing this review) watch it for free on YouTube.