A Gun for George

Matthew Holness might not be a household name, but in certain circles he's a cult hero. The actor, writer, director- and occasional master of the macabre- has popped up everywhere from 'The Office' to 'Cemetery Junction', bringing a sharp, strange energy to every role. He's perhaps best known as the mind behind Garth Marenghi, the gloriously deluded horror author whose exploits have haunted both stage and screen, most famously in the cult series 'Garth Marenghi's Darkplace'.

Holness's trademark blend of comedy and simmering menace runs through 'A Gun for George', his short film debut as writer-director. Set in the drab suburbs of Kent, it follows the misadventures of Terry Finch, a washed-up pulp fiction writer haunted by grief, failure and the imaginary world he's created to escape them. It's part character study, part homage to the gritty paperbacks of yesteryear, and unmistakably Holness: strange, sad and darkly funny.

It's a brilliant short, centring on a fascinating character: Terry Finch, a bitter, belligerent man utterly trapped in a world of his own making. Holness's film's narrative is loose and fragmentary, more concerned with mood and character than plot. We drift through Terry's daily routines- attempts to get his book published, rants at the library, mournful trips to the site of his brother's death- as he retreats deeper into the mythology of "The Reprisalizer," the vigilante hero of his pulp novels. It's grimly funny and quietly tragic, a portrait of a man so undone by loss, fantasy becomes his only refuge.

Like 'Darkplace', 'A Gun for George' satirises a very specific genre- the hard-boiled, vengeance-soaked world of pulp fiction. Once again, Holness demonstrates a knack for dialogue that crackles with absurd bravado and deliberate cliché, delivered with total conviction. But while 'Darkplace' leans gleefully into the surreal and the silly, 'A Gun for George' is more grounded, more melancholic. Beneath the bravado of Terry Finch and his violent alter ego lurks something sadder: a man clinging to fantasy as a buffer against grief, failure and the slow rot of real life.

Visually, the film is steeped in the aesthetic of 1970's British crime dramas- bleak blocks of flats, nicotine-stained interiors, car parks full of rusting hatchbacks. Leaning into this with affection and precision, Holness, director of photography David Rom and production designer Alison Butler capture the washed-out, overcast look of TV shows like 'The Sweeney'. It's a world of worn leather jackets, battered paperbacks and grim urban sprawl- just the kind of setting where The Reprisalizer might mete out his justice.

The film's visuals not only parody the genre but anchor Terry's delusions in something tactile and familiar, blurring the line between memory, fantasy and the drab reality of his surroundings. Additionally, the score- from Holness himself- is perfectly pitched- evoking the brooding, brass-heavy soundtracks of 1970's shows and movies. It lends a kind of mournful grandeur to Finch's inner world, elevating even the most mundane moments with the swagger and drama of a TV thriller rerun. It's both deadpan and sincere, much like the film itself.

As Terry Finch, Holness is brilliantly absurd- ranting about crime stats and library bans with the solemn fury of a man delivering a national address. It's a wonderfully heightened performance, all bluster and brittle pride. However, there's something sad beneath the swagger: a man clinging to his imagination because reality has failed him. Holness strikes the balance perfectly- stylised, sincere and just the right side of tragic. The supporting characters don't have much to do, but they play their parts with just the right tone, letting Finch's delusions take centre stage without ever undermining them.

At just 17 minutes long, 'A Gun for George' manages to be funny, bleak, and strangely moving- a sharply crafted short that works both as a loving genre spoof and a sad little character study. It's a showcase for Matthew Holness's singular voice: clever, morbid and deeply attuned to the tragic absurdity of lonely men and lost causes. For fans of 'Garth Marenghi's Darkplace' it's essential viewing. For everyone else, it's a perfect introduction to one of comedy's most quietly brilliant oddballs.

This short centers around Terry Finch, an unsuccessful writer of pulp-fiction crime novels who struggles to find publishing for them. Given the lack of success he finds throughout the short and the trouble he gets himself into in the process, it seems clear that he should give up. Via flashback though, it's implied his brother was killed by a group of carjackers, thus making the main character in his novels a stand-in for his brother and the act of publishing them a tribute to him. As a result, I felt sympathy for Terry and hoped for him to find success. Terry copes with the setbacks he experiences throughout the short by imagining himself as the character in his novels who "kills" the people who give him trouble throughout the short. As others have noted, these scenes are technically impressive for how they accurately recreate the look and feel of a 70's grindhouse film. They're also quite humorous given how Terry often shoots people in their balls in them. With that being said though, while this short offers a handful of interesting concepts, I don't think it wrapped itself up well. Since the short wasn't about Terry facing death, the implication that his life might be in danger at the end didn't work for me and seemed to come out of nowhere. Maybe if the short fleshed out the "fantasy and reality becoming intertwined" theme more, the ending would've appropriately chilled me. Still though, I found a lot to like about this short and I'm glad I watched it.

I imagine Holness grew up watching 70s dramas and crime films set in British dreary locations, and this short feels just like them. In my opinion it captured that brutalist look and feel better than Red Riding did a few years before with a much bigger budget.

It's not easy to mix humor with this tone and subject matter, but I did chuckle twice and actually laughed out loud (doesn't happen that often) when Terry gets kicked out of the hospital.

Also, this is not exactly a short, it's more like the first act of a feature length movie that (sadly) never got funding. In its own way this short is a masterpiece.