Bullet Boy

This film was painful to sit through. Went to the screening at the London film festival and couldn't believe the stereo typical representations with dialogue so bad (it made me cringe) I couldn't understand how the film council can spend tax payers money on something so pointless.

I went with two black friends of mine to see the film. For a film that's supposed to be of serious nature they laughed all the way through it as if it was a comedy. I assumed I wasn't getting the jokes but later found out they were laughing at it rather than with it.

It was obvious that the executives at film council have none or very little knowledge about the black community in London. I've worked with many black children/ youth and I couldn't recognise many of the characters that appeared on the film.

I wasn't surprised to find out that the producers of this very awful film are actually executives at the film council. NO WONDER. This isn't a film I recommend even when it's on TV.

Having served his time for stabbing another teenager, Ricky is released from prison and collected by his little brother and his friend Wisdom. Arriving back in London, Wisdom accidentally damages a car of another young man, but Ricky makes him walk away when things escalate towards a fight. However, when Wisdom realises that the word on the street is that he is a p*ssy, he revisits the young man and shoots his dog dead. Ricky tries to resolve the situation to avoid getting drawn back into the violence that landed him in jail in the first place. Meanwhile, younger brother Curtis watches all these things with admiring eyes.

Basically if you can't work out where the film is headed just from my very basic plot summary then you simply haven't seen enough American ghetto movies and indeed, one of the weaknesses in this film is that it is predictable from not only the moment it starts, but even the moment you are in the lobby looking at the poster. The message is simple but an important one and it is one of the reasons you should try and see it. That it is predictable is surprisingly not a problem and somehow the film is still engaging throughout – and I'm not entirely sure why it manages to do it. I think what carries the film is how very natural and down to earth the whole thing is; it feels like real life, the characters feel like real people and for this reason it is engaging because we, the audience, care even if deep inside we know where it is going.

The writing and direction is a big part of making this work. The writing takes the "no way out of the ghetto" cliché and puts it across in such a way that it is not glamorised; the violence starts over nothing and is never anything more than petty and a total waste of time. The small scale of everything within the story is also engaging – the violence is not between "gangstas" "rolling" in "Escalades" or "Lexus" but rather teenagers who live in tiny flats with basic furniture and minor drug habits. Although the sentiment may match those of characters in "hood" movies, the real sense of the small is effective and convincing. The direction helps this, with no flashy camera-work and the feeling of London streets and cramped flats. To me this realism was important mainly because, in the UK, we are constantly assailed by a presentation of reality in R'n'B music of bling, expensive cars and women in shorts; meanwhile UK cinema we have an obsession on cool guns and gangsters that comes from "Lock, Stock" and countless copies. If anything the overwhelming of the market with such images and hype make it all the more important to have a film like Bullet Boy do good business to counter it.

Ironically, lead actor Walters is one of those that has had a part in presenting a life that is outside of the reach of nearly all of us (fast cars, guns, violence, drugs and girls) by his part in videos and songs with So Solid Crew. Indeed the group themselves have had their fair share of headlines over shootings and cars and I would like to think that in some way this film was a decision Walters made to try and redress the balance. Regardless of his motives though, Walters is strong; he is natural and convincing as a black teenager in a high rise world of posturing and trivia and he does it without glamorising it or showing a concern for keeping up his So Solid personae or image. He is given good support from Perkins, Fraser and Black among others – all of whom add to the feeling of a convincing portrayal of daily reality for many. They don't feel the need to play up to black stereotypes of anger and hardships and they are simply convincingly real people.

Overall this is a predictable film that treads a very familiar path but the natural delivery in all aspects mean it come across as convincing and engaging – simply put, we care and we stay with it for that reason. If nothing else, see it to try and counteract the perversion of reality and glamorisation of violence that is pushed in the name of selling records.

Saul Dibb's debut feature stars So Solid's Ashley 'Asher D' Walters as Ricky, a parolee returning to Hackney's infamous murder mile. He is hoping to remain on the straight and narrow but this proves difficult as he's re-encompassed by the same violent climate he left and the need to maintain honour while preserving his reputation is the code to live by.

There is little to fault this British Movie. Shot on 16mm and on a tight budget of ca.48k, what we are given is a fly-on-the-wall view of life on the streets and the futility of Britain's gun culture. This didn't have to be shot in Hackney, but anywhere would have suited the scenario of disadvantaged youths trying to keep their heads above water in the increasingly gangsterish streets of Britain.

Dibb, the director, is very careful not to preach to us. The closet similarities and comparisons made will point an out-dated and clichéd finger at John Singleton's 'Boyz in da Hood' and Spike Lee's 'Do The Right Thing'. Although these two films crystallised (inner) racial feuding and violence in America, Dibb keeps his message a little closer to his chest as the audience decide who's the true hero, villain or victim - if any. This film plays as a theatrically scripted tragedy, which is sensed from the opening where the young Curtis (Luke Fraser) goes to meet his paroled brother.

It is hard to pinpoint the film's genre and exactly what the plot is. Largely unknown actors, a purpose-built raggedy script (with plenty of improv) revolving on just-happen-to-be circumstances leads to a sense of a horrific reality. Here, kids try to become men too young, and violence is the sole key to respect even if it is borne from a childish dispute like a minor traffic incident as in the film.

It works and it works very well. All character development is sidelined for a streamed view of street life. Clare Perkins plays the mother who has no control over her boys despite her strenuous efforts, the reformed Preacher (Curtis Walker) and Wisdom (Leon Black) all have their own back story, which we are told in a sentence, focusing our attentions on the Brothers. Each character represents a social template in one of life's cycles, Ricky and Wisdom are the present and his younger brother could easily be the future while the rest of the cast represent those inadvertently embroiled in street politics and gun ethics.

Massive Attack's Robert Del Naja delivers a haunting theme to end the movie, as the filmmakers ask no questions but leave them in sight. Dibb, who is traditionally a documentary maker is all too aware of how to enter the psyche of gritty subject matter with previous works on street life and shop lifting he wants us to see all the angles, the choices these people make and their consequences. It is then up to us to draw our own conclusions.

Ricky wants to be the ideal brother for Curtis but the street will not let him. He wants to knock some sense into his over zealous friend Wisdom but loyalty won't let him. Curtis is a lovable character because he has the innocence of youth, which his environment is too eager to snatch as (peer) pressures encroach on him and his brother's good intentions are contrasted by the actuality of his actions. Curtis is the natural choice to become a Bullet Boy, like others around him and the responsibility is left to the one character that should traditionally have none.

This is a powerful fete in film-making and serves topic matter that is relevant and garnished with gritty realism that you cannot help but feel for all those involved.

I saw this film last night at the Tricycle theatre and I have to say it showed the real look at 'road' life as we know it for our young black brothers. Being Black British myself I really felt the film through the eyes of the mother, Ricky and Curtis, it was a brilliant watch. You may call it typical of movies, but this was a British film with edge and class at getting the message right! I was brought to tears on the way home remembering how many of our brothers are going through and have been through (RIP) this similar scenario, so I know why I appreciate being a mentor to uplift my community

I would like to start off saying that I appreciated the movie for dealing with the black community in London. No rude cockney gangsters, catchy crime scams or laughably stupid dope dealers. The family this movie deals with is a single mum home with two sons, one just out of prison, the other still too young to be involved in anything hazardous, but looking up at his brother and already copying some of his ways.

I enjoyed the language and the characters who were all convincing and complex enough but, how carefully put down they were, the more obvious and stereotypical were the things happening to them. Everything going from bad to worse, who plays with fire is gonna get burnt. And then the ultimate contrast of either sinking into crime and sin (devil), or choosing the righteous path and go to church every Sunday (god).

This easy moralism hurt the rest of the film. It made things predictable. It was like a newspaper article collage, one shock after the other. It took away much of the complexity that I found in the characters themselves. It really is a shame because the development of the characters could have been much more subtle and would have fit in better with the style of the movie that deals with a gritty context matter but managed to use a soft and sometimes almost dreamy camera and score, not unlike other recent British films, such a 'Morvern Callar' and '16 Years of alcohol'.