Recensioni degli utenti

First, I have to state, this isn't a movie for everyone. And it's actually not even a movie for me. The film is really slow and takes a long time to get going. If you're not looking for a contemplative British movie About real life, then I would look else where.

However, if you do like indie movies inspired by John Cassavetes with long lingering beautiful cinematography, this movie is for you. Interesting story once it gets going and I'm still shocked to find out it was filmed on an iPhone. Overall, the acting was good and once the story starts about halfway into the movie, I really enjoyed the characters and what they were dealing with. Overall, well done.

Impressive not only considering its budget and small production scale, Ghost delivers genuinely gripping drama and poignant emotion in sleek fashion throughout, proving the immense potential of even the smallest films.

Shot entirely on a smartphone, it's really quite incredible just how cinematic and spectacular this film looks. With brilliant cinematography and visual style throughout, Ghost lends a sleek, almost imposing edge to the city of London, heightening the emotional intensity of its story enormously.

Many London crime dramas will use a down-to-earth, gritty portrayal of the city to drive their stories home, but the way that this film avoids that in favour of something a little more poignant is particularly telling of why it's such a powerful and memorable watch.

Uniquely pensive and patient for its genre, the film looks at the nature of a complicated father-son relationship and the vestiges of a troubled past in gripping fashion, fostering challenging, powerful and often strikingly uncomfortable dramatic depth throughout.

The lead performance from Anthony Mark Streeter is fantastic, as he manages to strike a perfect balance between some of the more generic gritty sensibilites of the film's story and something a lot more profound, while Nathan Hamilton, who plays his son, also impresses with a steely and strong-willed turn that more than matches up to Streeter.

Couple those excellent performances with a riveting screenplay and a perfectly pitched atmosphere brought to life by director Anthony Z. James, and Ghost really has a lot to offer on a deep, emotional level - not to mention its profound, almost transcendent musical score that puts you in a trance from the very start of the film.

For a film shot on such a small scale and with such a small budget, I was blown away by how masterful Ghost was. It's a gripping watch that blends more generic sensibilities with profound, challenging drama, while it also delivers deeply poignant emotion through its use of atmosphere, score, cinematography and performances. And with all that considered, it really is an impressive watch.

Don't waste your time. You will be tortured with cringe worthy scenes of awkward moments where it seems the characters forget their lines and their ques and end up speaking over each other. Interactions and conversations are dragged out painfully, as if either actor does not know what's next in the script. That's if there was a script. I think this could have possibly been thought up on the spot. Can't have spent more than a 500 quid on the budget. The storyline is a weak mix of most cliche crime/ gangster films you can think of. That's when you eventually get to the "story line" after an insanely slow dragged out first hour.

It's the subtlety of the camera placement, the deeply affecting silence, and the brilliant, non-verbal work of two very talented actors, that take Ghost to its soaring heights in visual storytelling. Hamilton and Streeter's chemistry is infectious - and if the point was to closely examine a fractured father-son relationship (it was), then James and the entire crew succeeded.

Boring, boring.... Might as watch 2 blokes talking in the street. I didn't enjoy this at all, lots of talking about very little with nothing happening very slowly. Give it a go and leave a review.

If you like character-driven emotional dramas with men trying to put their lives back together (think Manchester by the Sea, The Way Back) then Ghost will work for you. Though it is a crime drama, that element of it doesn't become obvious until the final 30 or so minutes of the film. If you like gritty crime dramas as well as those emotional dramas, then you should be adding Ghost to your watch list.

A really well thought out and considered film, slow but atmospheric with tension building along the way, not least with the father and son relationship. If your looking for a typical British crime / gangster film look elsewhere but if your in the mood for something slower and innovative (shot on an iPhone 8 - really!!!????) then give it a go, I love the usual UK blokey/ crime stuff, however this isn't it, nonetheless I have to say it's the finest hidden gem I've found all year. I don't normally write reviews but really felt this deserved one.

A great little gem of a british movie .good acting good story for a low budget drama

I found Ghost to be an engaging and moving piece - a thoughtfully considered plot keeps its audience absorbed throughout. Relatable characters are complemented perfectly through the talented acting, while the mood of the film is captured superbly by the ominous music and sound camera work. This all combines to bring a sinister aura, as the tension in the movie builds to its dramatic finale. Highly engrossing - would hugely recommend.

You might have heard about this movie because of its selling point: It was shot on an iPhone. This approach of capturing images may impress some, but it does not impress me. What excites me, however, is strong storytelling containing characters worth spending time with and getting to know-which "Ghost," written and directed by Anthony Z. James, offers the viewer should one bother to look just underneath the familiar plot: an ex-con having just been released from prison wishes to reconnect with his family, specifically his son who grew up without a father for ten years. As the ex-con rings the doorbell, his wife chooses not to answer the door. We assume it is out of fear.

It is a quiet drama-certain to be mislabeled by those seeking numbing thrills or noisy action as slow or boring-but lean a little closer and listen with intent. Clearly, the humanistic screenplay aims to make a thoughtful statement about the past, how it can be passed on not just through environment and socioecology but also biology. The father's past involves violence-which is skirted around for more than half the picture. When specifics are finally revealed, it is not entirely surprising yet still quite disarming. Perhaps it is no accident that the occasionally irascible son walks around the neighborhood with something to prove, as if constantly carrying weight on his shoulders. His father wasn't around to take off some of the burden.

At the center of the picture is two naturalistic performances by Anthony Mark Streeter (Tony, the father) and Nathan Hamilton (Conor, the son). Right when the picture ended, I felt compelled to find out if this was their first feature-not because the acting is in any way unconvincing or false. On the contrary, Streeter and Hamilton's performances contain no vanity, just raw interactions of every day people who've been around the block-perhaps one too many times. They look tired, a bit sad, hopeful at times, and when they are surprised, especially when they try to hide it, we cannot help but smile with them. The relationship's rhythm is so curious, I found myself observing the most minute facial details of two men who have just entered a new chapter of their lives.

A standout: when the father and son make eye contact for the first time, not saying a word for what it feels like ages, we are made to believe that these two already have a complicated history; it is exciting because we are dropped right in the middle of it. Acceptance or rejection-we are not given a solid grasp of how the relationship will turn out. Another standout: Tony meeting with a man with whom he used to work for. Dom (Russell Barnett) seems to have the money, the power, the drugs. He wears a nice suit. But really look at him, his habits, his dead eyes. All he has is a nice view from his office window. Tony might be a penniless ex-con but at least he has a purpose. He wants to live again, to be present, to be there.

The final act may come across contrived to some. To me, however, it is a natural destination-not just in a movie of this type but also in terms of what this specific story attempts to communicate about the cycle of violence, how ghosts of the past can haunt and threaten to derail a possible future of contentment and happiness. I admired that it faded to black when it did because it trusts us, after having gotten the chance to know its protagonists, to imagine what might happen next. I found it to be a terrific litmus test of how closely we pay attention to the people around us. Here is a movie that gives people the desire to see.

Anthony Mark Streeter's performance as Tony reminds me of Paddy Constantine in Dead Man's Shoes, but while Richard is on a revenge mission, Tony is trying to overcome his violent nature and reunite with his son Conor. However, Ghost is not a thriller/slasher or a big budget Hollywood action flick, so don't expect this and you won't be disappointed. The writer/director was not interested in labels of good and evil and doesn't take dramatic liberty. Ghost is a beautifully shot film I would definitely recommend.

Ghost takes a familiar set-up and gives it a fresh "kitchen sink realism meets mumblecore" spin. Instead of following genre conventions or procedural aspects of prison release, the lyrical character study focuses on the complicated father-son relationship and how it shifts during one eventful day. The slow-burning narrative maintains an engaging flow with the help of nuanced performances, naturalistic dialogue, atmospheric soundtrack and efficient cinematography.

I was gripped watching this film and totally fascinated with how much narrative was able to be put across with minimal dialogue. The character arcs were also brilliant to see considering this film takes place over a relatively short amount of time. Anthony Mark Streeter's performance as Tony was beautifully done, showing his struggle for redemption in a humanising way. Direction by Anthony Z. James was perfectly done, using all aspects of film making to help drive the narrative.

Filmed entirely on an iPhone, Ghost follows an ex convicts first day free as he navigates a new world of which he has a stark disconnect to.

Billed as a crime drama, Ghost revels in the quiet and the normality of urban life. It is less interested in classic tropes of the crime genre and instead invests it's time in a brilliantly authentic father and son dynamic. Both Streeters commanding father figure, Tony, and his hot headed son Conor are looking rekindle a relationship that ten years apart has shattered.

The point where the film excels is when the world is seen through Tony's visor of being plunged into an isolating and unrecognizable world. Here director Anthony Z James finds a contemporary resonance, aided by the world's current landscape. Tony's embodiment of dissonance with a changed world is easy to identify and empathize with. Ghost approaches a reflective look at change during a time when we feel it as much as Tony.

Ghost is a sorrowful and oddly timely tale of disconnect with a pulsing heart and affinity with genre that dissuades itself from mindless action and instead concentrates on tangible personal relationships.

Interesting type of British film on location round Acton west London area but could of been better performance from the actors in this.

In Anthony Z. James' low-key British drama, Anthony Mark Streeter plays Tony Ward, a grizzled ex-con his first day of freedom struggles to reconnect with his estranged wife (Emmy Happisburgh) and conflicted son (Nathan Hamilton) before his violent past catches up with them. Slickly shot in guerilla-fashion using an iPhone 8, this moody, London-set drama is an absorbing watch. While its slow burn pacing may test some audiences, the film rewards its viewers with a satisfying experience, thanks to its familiar yet solid writing and direction. Focusing more on the father and son relationship of the two main characters, the film, the film spends more time in letting the audience invest on these poor fellows and how they'll be able to fix the broken ties between them. This is further boosted by the nuanced performances of Streeter and Hamilton, along with some fine work from Russell Barnett who plays Tony's old pal who holds a grudge on him. Despite a few technical lapses involving the audio aspects and some shots where the camera man is visible on reflective surfaces, the film excels thanks to its focused storytelling and brilliant acting, not to mention its artful cinematography.