TwentyFourSeven

I've been waiting a while for this to reach our screens, and though anticipation undoubtedly adds flavour, I was favourably impressed. Meadows has been billed as Britain's new white hope and 'Twentyfourseven' promises good things for the future. It may not have the (attempted) dramatic scope of a film like 'the Boxer', which in plot terms it resembles, but Meadows covers the ground efficiently and without histrionics in a free-flowing cinematic style that simultaneously displays a tensile strength. Meadows' eye is good (the crane shot outside the club at a crucial point towards the end shows that he can do formal, too) but his ear is even better. The exchanges and insults between the two gangs and among themselves, even when not fully comprehended by my kiwi ear, make similar lines from 'Good Will Hunting' and other popular films sound contrived. The freshness of 'Twentyfourseven' may be supported by control and critical judgement, but it is, all the same, real.

For my money this is the best film of the year. Best in that it didn't cost a fortune but packs as much of an emotional wallop as any blockbuster with 200 times the budget. Bob Hoskins plays Darcy, the burnt out soccer coach whose past history is told in flashback through his diary. It tells of how he trained up a team of no-hopers into becoming boxers with something to live for. Shot in luminous black and white, the feature debut of Shane Meadows is a remarkably sensitive, blisteringly funny portrait of hopelessness in Nottingham. The city has always had its problems but is also one of the most vibrant places on earth and Meadows captures the balance perfectly.

The sulphurous black and white photography adds much class to the production and the team of largely unknown actors handle things admirably.

The movie also features one of the most realistic fight scenes ever committed to celluloid when Hoskins and Coronation Street's Bruce Jones (Les Battersby) lay into one another. Both actors walked away with broken bones and this is jut one element of why 24/7 is a cut above the average movie. It's life captured on film with few romantic films. But the message is as powerful as one of Hoskins' punches in the ribs. Meadows will inevitably get more money for his next picture and will no doubt be sucked into the Hollywood mainstream which will probably be the death of him. If that happens, let's hope he doesn't lose sight of the genius which he embedded into every frame of 24/7.

After the short 'Where's The Money, Ronnie?' and the not-so-short 'Small Time', Lord Shane Meadows of Eldon's first feature film is this snappy black-and-white urban drama. Darcy (Bob Hoskins) is sick of seeing the local youths at each other's throats, so forms a boxing club to bring them together. It is a laudable plan; something to offer control and direction to a disaffected generation.

Meadows' greatest talent is in presenting a truthful working class landscape sympathetically, but without being patronising. Our heroes are disadvantaged, often stricken by a fearsome domestic environment (none more so than Danny Nussbaum's Tim); and yet they are also kind, witty, hungry, and joyful. The scenes in which Darcy brings the boys to Wales, with Ashley Rowe's sumptuous cinematography and Hoskin's lyrical voice-over, are so vibrant it's as if they're filmed in colour. It's quite something to find drama in scenes of great happiness, when the conflict is left at home - but Meadows always seems to find it, and that's what makes his films vital and real.

This film was one I had heard of, thought I'd like to see, but simply missed. When it came on pay-tv I made a point of taping it and I'm glad I did. In an extremely simple but effective way this film transports the viewer to a seedy english working class neighbourhood with its local 'colour' and crushing gloom, hopelessness and misery. A fair short film, in some respects I felt the tale unfinished - little by way of background, the heart of the film was the training and first competition which doesn't run too long, then - almost before you know it - its all over. Still, definitely worth a watch for some fine acting, interesting (though not overly original) plot, and fine but simple film-making. (ps although I can understand the use of b/w I'm not really convinced it was all that necessary or effective). My vote 7/10

Shot in sumptuous black and white,this is one the most energetic films I've seen in a very long time.Bob Hoskins(in the kind of role Robin Williams can play in his sleep,and often does)is at times funny,at other times dead serious,but always real in this story that centers around the boxing club he has built to give the young men in his small town something to do instead of sitting around feeling sorry for themselves and throwing their lives away.All the performances are first-rate,but the family unit of Danny Nussbaum,Bruce Jones and Annette Badland are particularly strong.If this movie had been made in Hollywood it would have been over-produced,over-cast and overdone.The film never lowers itself into the cheap sentimentality that this genre of film often falls into.The way that Bob Hoskins brings these guys into his confidence one by one by convincing them they're the ones keeping the other guys in line is awe-inspiring.And there's a great soundtrack to boot.Mr Meadows,I know the money can be very tempting but resist the call of Hollywood as long as you can.The concessions you'll have to make to get your work produced just aren't worth it.Bravo,Shane,you're one helluva filmmaker.