High Heels and Low Lifes

If this was a film about two guys, it would seem silly, stupid and highly improbable. For that matter, it would be hard to believe if both of the women were Americans, and the setting was New York or Los Angeles. But the setting is Britain, and although one of the women is American, the other is more conventionally English. The mix makes for enough reasonable doubt that the story seems at least imaginable. Otherwise, plots in which two women are the central characters in a send-up of gangster films are rare, and this one is treated intelligently. The two women are smart and quick witted. In contrast, the bad guys are not just goof balls, like the title would seem to imply. They are creepy and dangerous, and the two gals soon find themselves in over their heads. The tension sometimes approaches real drama, but it is ultimately a comedy,. It is well worth watching, although the ending may seem a bit abrupt. The two ladies have minds of their own and some great lines to say.

It is not often that I use this word in film reviews, but High Heels and Low Lifes was a very cute movie. While it did follow a very formulaic caper approach, there were elements that were very original and stood out in this film. It had a crisp semi-humorous story coupled with two actresses that were very into their roles. There were some dark elements that I was not expecting when they were dealing with the gangsters that kept my attention until the very end. This was one of those films where you knew exactly how it was going to end, but you still had fun watching your characters get there. This film was a no-brainer, but in a good sense. If you are looking for a fun, caper film that takes no energy to watch than this is the film for you. That is exactly what I was looking for when I watched this film, and it worked perfectly. Let me tell you why.

My biggest satisfaction from this film came from the very unrealistic portrayal of London's dark underbelly. It begins with a very sinister retrospect on the crime in this populated city with images of hardcore robbers doing what they do best. That is the last glimpse we have of that world because by the end of the film the darkness sheds to light and we are handed a fantasy world all our own. The bad guys go from their darkened world and into mansions full of color, ambition, and cartoon blunders. It is this sense of unreality that kept me focused on this film. Here we have two women that are having this 'movie' adventure while hiding in bushes, wearing dark sunglasses, and fighting with guys in the cow pastures, yet on the other hand we have these criminals that truly want to kill them. There are huge guns fired, people get shot, and there are even some literal explosions. It reminded me of when Elmer Fudd was hunting for Bugs Bunny. There is some horror to the realization that Fudd only wants to 'kill the rabbit', but there is humor in the unrealistic events that occur due to Bugs' outlandish style and Fudd's ignorance. So, when you look at the cover of this film, do not be fooled. What I am trying to say here is that the unreal story is what kept my attention. I don't know if the writers wanted to create a real world with these heroes, but in my eyes they didn't. This was a fictional story, and I couldn't see this happening in real life … and that worked for me.

I must say that Minnie Driver and Mary McCormack are not at the top of Hollywood players list, but they seemed to carry themselves well in this picture. I think the reason that they worked was because it was a small film. Driver and McCormack do better in these small budgeted films than they do in the blockbusters. I don't think I have ever seen a big-budget Minnie Driver film that I would say was 'amazing', and the same goes for McCormack. High Heels and Low Lifes is their type of film. Thankfully, director Mel Smith knows that and knew what he had to work with. He keeps the tone low on this film, making the humor not laugh-out-loud, but grinable. There wasn't really anything spectacular about the direction of this film, and that was perfect for this film. At times directors of these smaller films try to reach out and become to artsy with their craft, this was not the case here. Smith stayed on the path of this film and worked his magic with the greatest of ease. He was not trying to go over the top, but yet successfully kept this film from sinking.

Overall, this was a 'cute' film. I will use that word again because I cannot think of a better way to describe this simple film. It was easy on the eyes and on the mind, and if you are in the mood for that style of film than High Heel and Low Lifes will provide it. Minnie Driver and Mary McCormack play off each other exceptionally well while Mel Smith eases behind the camera. There is nothing spectacular about this film. I probably will never see it again, but it was worth watching once. It is always good to have these types of films around. Those that do not try to go overboard, yet give you exactly what you went in looking for. I was impressed.

Grade: *** out of *****

High Heels and Low Lifes

The trailer tells us this is the next ‘Thelma and Louise,' but this wild and spicy flick is more like Starsky and Hutch meets Absolutely Fabulous. Brought to us by the veddy British, Fragile Films, the same people that brought us Spice World and is currently between two Wilde takes; 99's ‘Ideal Husband' and next year's ‘Importance of Being Ernest.' Girls just want to have fun.

The overall theme is that old-time-Hitchcock-religion where Joe Everyman becomes unwittingly entangled into crime and intrigue. The stars are Minnie Driver and Mary McCormack as a nurse and thespian respectively. These are the two Joanne Everybodies with a UK twist of sophisticated slapstick like Peter Sellers as Inspector Clouseau.

These women are presented as smart, strong and beautiful. Yay. And all the guys are either corrupt or useless. Just like real life. Min has a dumb boyfriend who's electronic eavesdropping picks up a cell phone mid-bank heist. Mary, the actress, fresh from a looping session with an animated tomato, sees the overheard phone conversation as an economic opportunity to squeeze the bad guys. `They'll never listen to a woman,' insists Driver. Mary says, ‘This is the twenty-first century and we do all jobs now.' Minnie crosses with `Do you want to extort money or raise consciousness?' Mary's answer, `Both!'

The rehearsals for the blackmail phone calls to the bad guys are a hoot. The writing comes from two comedy vets from the BBC, Km Fuller who cut his teeth on ‘Red Dwarf' and Georgia Pritchett from the sassy ‘Smack The Pony' and nicely directed by Mel Smith who did ‘Mr. Bean.'

Highlights include a very nice travelling matte midsection when both sides rally to battle reminiscent of the opening title sequence to Knots Landing and a smashing performance from Sir Michael Gambon, the great character actor which is another word for interesting.

Most crime films that purport to be funny usually end up with a few too many laughs, making their criminals bumbling morons. Which may make for some great laughter, but with no real menace to make you wonder why they're criminals to begin with.

Not this film - the balance between menace and comedy is carried out perfectly. The criminals are allowed to be menacing and intelligent (for the most part) while the two leads get on with the job of comedy. At least until the end, when it goes just a bit too far...

My major problem with the film is the relationship between Driver and McCormack. It never quite gels - although that could just be my inability to see McCormack's performance as anything other than Donna Air with an American accent!

All in all, worth a look - but not exactly an Oscar winner.

With her arty and selfish boyfriend busy recording digital signals in order to make an audio installation, Shannon goes out for a drunken night with her friend Frances. Coming home later that night they are messing around with the sound recording equipment when they pick up what they believe to be a bank robbery in progress. Trying to report it to a police station snowed under with muggers, pushers and drunken yobs, achieves nothing and the next day they hear on the news that the robbery has taken place. With the telephone number of one of the gang still written on her hand from the recording equipment, Frances comes up with the idea of blackmailing the robbers for a cut of the cash. Unfortunately for her, she forgets that the gang are criminals and soon the stakes are much higher than Shannon or Frances bargained for.

Everything about this film put me off it – the fact that it was a UK comedy, Mel Smith, the cast of British TV comedians and the poor reviews, but anyway I decided to give it a go when it came on television recently. From the very start the plot lacked any sort of credibility, relying on some very forced points to start the story and to keep it moving throughout. At times this is annoying but for most of the film the rough energy of the film just about covers just how very silly it is. The film is meant to be a comedy but it rarely made me laugh, but it did have just enough rough humour to it to make it reasonably enjoyable as a sort of brainless piece of entertainment. Of course it is not a great film but the undemanding viewer will at least find it is easy to watch.

The cast are a mixed bunch, some of them make the film better but generally the majority are given little to actually do. Driver and McCormack are enjoyable and fun to watch and they make good on what could have been stupid roles. They play it larger than life and, although never funny, are a big part of the film being at least a bit of fun. The support cast throws up a lot of well-known faces from both acting and comedy, but none of them really make a mark other than showing their face. Dyer, Gambon and McNally just show up and do their best but comedians such as Sessions, Williams, Eldon and Simpson don't really have any material to show what they can do. Director Smith makes a cameo and as director he does an OK job without really ever doing anything unique; I suppose he at least makes it look more professional that some British comedies have – shame he couldn't find the laughs.

Overall this is a poor comedy if you are looking for consistent laughs, but it has got just enough rough energy to keep it moving and it never made me feel like the laughs were missing so much as just not there (if you see the difference). Of course it is basic and simple but I was sort of in the mood for that and, meeting it on these terms, it made for passable entertainment but I'll forget it soon enough!