Cashback

Even though British cinematography is closer to Hollywood than any other (European) one, here's a fine example how a clever narration and fantastic cinematography can make all the difference (between this movie and some average rom-com - "Down to You" and "She's All That" first come to mind). Since "Playing by Heart" thought us that "Talking about love is like dancing about architecture." this movie tries to add an extensive visual layer to the story and it does it rather successfully. Some might find this movie to be pretentious and full of "shallow philosophizing" and "excessive nudity", but these are absurd statements. The thing that comes across is that this movie never takes itself too seriously and this is it's strong point. You are there to watch and enjoy and if you pick up something "meaningful" out of the entire babbling of the main character, good for you. If not, you'll still be happy just for all the eye candy presented to you. A win-win. And that's always good in my book.

There are few films that truly cause the minds of its viewers to wander and transcend from one thought to another. This film inspired me to take a second to think about what a second really is and to cherish moments for what they are. Its a breath of fresh air just waiting to be taken in and surely those with intellect just waiting to be toyed with will surely agree. Being a citizen of the United States, I am rarely exposed to films that contain intelligent dialogue and inspiring acting. Unfortunately my country is filled with bumbling fools who appreciate things exploding and pointless violence more than a beautiful story. Alas, films such as this one remind me that there is still hope in this dreary world and for that i am grateful.

I attended the world premiere of "Cashback" at the Toronto International Film Festival. I walked out in a daze. I had a feeling I'd seen something special, that moment when you have to pause to take a breath and reflect on what you've experienced. I still had about 20 films to go at the time, and "Cashback" raised the bar and became the benchmark against which all the others would have to be compared. As it turned out, nothing came close. Of the 30 plus films I saw that week, "Cashback" tops the list.

Literally built around the short film of the same name which screened at festivals in 2004, triple threat writer/director/producer Sean Ellis did something ingenious. Rather than take his 20 minute piece and expand it to fill 90 minutes, he created a new Act One and Act Three to bookend a reworking of the original short in the center. And he pulled it off with a tour de force of light and sound. The result is an eerie, compelling twist on the classic Outer Limits episode where time stops while the protagonist weaves in and out of the frozen characters in another dimension. It may sound like sci-fi, but this is a sweet romantic comedy whose storyline is among the most original I've ever seen on screen. The concept is brilliant and the result magnificent.

The look is lush, cinematography by Angus Hudson breathtaking, and "Cashback" features an appropriately sweet score. They combine to give this low budget project a big movie feel, destined for the wide audience it deserves.

Most of all, I believe "Cashback" is the vehicle which will introduce newcomer Sean Biggerstaff (Oliver Wood of "Harry Potter") to the world. His star tun in this film as protagonist Ben Willis left me speechless. The camera loves him, and he is on screen virtually from opening to closing credits. This film is his to make or break. It rests on his shoulders, and he owns the material.

As they say, you'll laugh, you'll cry, and I walked out with a tear in my eye and a smile on my face. And no other film I saw at the Toronto Film Festival did that to me. "Cashback" is a sweet little masterpiece.

Having seen the film a few times, I can really say: 'I don't think there is a person out there who wouldn't enjoy watching this great piece. It's a formula that works beautifully. It is cool - without being pretentious. It is beautiful and sexy - without being cheesy. Very few films touch a chord in you. This film certainly does that. I think, those individuals who express a lot of negativity towards the film - have issues. Deal with them first - then watch the film. Being a regular cinema visitor and very familiar with the standard of films we get fed, I can happily and confidently confirm that this film is a gem that really shines!

What an intense and creative film this is and what a treat it was to have the charming Sean Biggerstaff present it at the Stockholm International Film Festival. He is proud of 'Cashback', and rightly so – for you will be pressed to find a prettier fantasy or funnier characters in a film this year.

'Cashback' is director Sean Ellis' debut feature and he recreates the atmosphere of his same-titled short film with deft strokes, breathing life into a fantasy movie masking as a romantic comedy. Do not write it off on the basis of this negatively-connoted label, rather see it as a creative drama that delivers comedy by the bucketload. The fact is that 'Cashback' delves deep into the emotions of its protagonist Ben Willis (Sean Biggerstaff) much like a drama. It opens with his girlfriend dumping him, screaming and throwing things. In the following weeks, Ben suffers from insomnia and thus finds that he has eight extra hours at his disposal. To pass the time, he works the dreary nightshift at Sainsbury's.

The supermarket job is mundane at first but soon offers an outlet for Ben's creative side. As an art student, he learns to find the beauty in still images every second of the day. This includes the unspeakable beauty in a spilled bag of green peas on aisle four. It also includes freezing time and undressing women (Ben finds great source of interest in the female form), arguably the film's most intense sequences. Here there is a kind of seamless intercutting of scenes, scenery, flashbacks, reality and fantasy that all melt together fluently as the director navigates through Ben's life and thoughts. The latter soothingly narrates the course of events, which cements his likability as a central character.

The unspeakable beauty in the dreamy cinematography is rivalled only by the other side of the tapestry – the comedy. I was rather unprepared for this diversion into hilarity, and expected Cashback to be a drama. Naturally, the amount of well-placed comedy floored my low expectations. In the front row for hilarity sits Ben's two colleagues at Sainsbury's, whom he introduces in brilliant ways. These are two dumb and goofy guys in their late teens who pass their time doing pranks and acting like idiots, such as smuggling sex toys in women's shopping bags at Sainsbury's and guffawing at the effect when she sees it and picks it up. The passing of time indeed proves a central theme in 'Cashback'.

But there is a wide array of noteworthy performances from the supporting cast, not just in Barry and Matt. Ben's boss also proves a massive crowd-pleaser and the level of seriousness which he applies to situations (such as the mighty football tournaments between supermarkets) is a goldmine for comedy. As ever, there is a romantic interest (Emilia Fox) – a girl who works at the same supermarket during the same shifts – who is the film's most likable and interesting character, bar none. My theatre audience also demanded Sean Biggerstaff on some info on this lovely actress.

It needs to be said that 'Cashback' is a sexually aggressive film with plenty of nudity and stories of sexual awakening. All women are also suspiciously attractive (it has often been brought up, beamed Biggerstaff in the Q&A session). It's funny, it's sexy and it's sweet – puffed full of insights in Ben's narration. Better yet, it is a surprisingly ambitious film that strikes me more as a mainstream feature than quirky indie fare (if it wasn't for the nudity). For instance, the classical score is so epic and well-fitted that it sounds like it belongs in 'Gladiator' or any other high-profile sweeping epic. For that matter, Sean Ellis has worked in a homage to the latter at one point when the boss gives a rallying speech during the football tournament, telling his employers to think of him 'as Russell Crowe'.

The film has only two faults as far as I can see it: its wildly unfocused story and its slightly cheesy ending. The former did not prove a problem or a distraction, but rather made it feel like 'Cashback' attempted a lot of different story lines and detours and diversions. That said, I can see how it could be considered a problem. The ending discards some of the unpredictable magic by tipping into saccharine but it is nothing fatal. The fact is that Cashback is a remarkable film in both comedy and drama aspects and I urge you to watch it if you are even a slight fan of Biggerstaff.

9 out of 10