Down Terrace

All of the 1% reviews on here are by Americans that just don't get it? this is classic British sink, no blinking explosions or any CGI. I find it disturbing that people actually come on to IMDb to rip into an excellent film, made with heart (and no budget) . If you want to be a faux critic at least learn the art of spelling and not bashing art for having 'so much dialogue, and not enough action' Ben Wheatley pulls his A game here. If you don't get it, fine. But there is no need to mark it down. /rant.

Looking at the DVD cover of Down Terrace, you would be forgiven for dismissing it as yet another geezer-filled entry into the British crime genre, directed by somebody who watched Guy Ritchie's Lock, Stock and Two Smoking Barrels (1998) growing up and fancied themselves as capable of doing the same. Yet Ben Wheatley's debut feature goes out to do exactly the opposite, and instead of motor- mouthed crims with ridiculous nicknames and heists-gone-wrong, we get a kitchen-sink drama, at least for the first two-thirds, filmed almost entirely within the constraints of a run-of-the-mill house in Brighton.

After a stint in prison, Karl (Robin Hill, who co-wrote the script with Wheatley) returns to the family home with his father Bill (Robert Hill, Robin's real-life father) to try and sniff out the rat who is threatening to bring down their criminal organisation. With the help of mother Mags (Julia Deakin), they invite various associates, including idiot club owner Garvey (Tony Way), muscle Eric (David Schaal) and hit-man Pringle (Michael Smiley), to their home in an attempt to suss them out. Karl is barely able to cope with the relentless criticism dished out by his father and his family's general dysfunction, and the atmosphere is made worse with the re-appearance of Valda (Kerry Peacock), an old flame now (apparently) pregnant with Karl's child.

Channelling the work of various British film-makers, including Ken Loach, Mike Leigh and Shane Meadows, Down Terrace attempts to draw you in slowly, creating an atmosphere of unease before unleashing its bloody final act. It should be a clever subversion of the genre, and in some ways it is, but this is hampered by a measured approach and a self-awareness, similar to the problems Sightseers (2012) had. There isn't a fault to be had with the performances, especially Robert Hill as the everyman crime boss with a slight aura of buffoonery about him. It's also very funny on occasion, and one of Wheatley's real strengths as a film-maker is luring you in with laughs while never allowing you to be completely comfortable. Ultimately, it's a distinctive test of endurance with flashes of brilliance, doing wonders with a micro-budget.

Watching this late it's very clear that it's an early effort compared to more nuanced and sophisticated later work. A well developed story and characters build with everything on the table from the actors. Brings humanity to a mythologised group of people, medium level drug dealers. Having lived in and known Brighton some of the characters, especially Bill, ring very true, as does the easy reach to violence even though it seems simplistic.

I remember my first experience there of some friends attempting a major purchase to set themselves up and ending with someone getting stabbed several times with a screwdriver. Could have been a scene here.

By far Wheatley's weakest film, and that's coming from a massive fan. That said I started with Kill List, then went to A field in England, then Sightseers, High Rise and now this.

I think if I'd have watched them as they had been made then I may have given it an extra point.

But anyway, a fly in the ointment.

This basically centers on a highly dysfunctional crime family who tear themselves apart. I won't go into the reasons why, mainly because you can't tell!

In a typical Wheatley fashion, it's sometimes hard to tell what all of the fuss is about, but the actors hold it together nicely. It's great to see the old ensemble in the early days at work and there seems to be a theme of the same actors being cast throughout his movies.

This tells us two things:

1. How versatile of an actor and director Wheatley is and 2. How good the actors are to bring their familiar faces to an audience that knows them, and to pull something completely different out of the bag.

The movie itself however lacks depth for me and some of the deaths just seemed pointless.

However on a finishing note, the musical choreography is awesome and I was pleased to hear some Robert Johnson tracks being played.

If you are going to become a 'Wheatley-ist', then definitely start with this. It's a good beginner film for his style and showcases what he is good at and as you watch his other stuff- you will see just how much he has developed into one of my faves.

Writer/director Ben Wheatley's debut feature film Down Terrace is British drama that fuses together the kitchen sink social realism of Shane Meadows, Ken Loach and 'The Royle Family' to make compelling yet highly uncomfortable viewing. Wheatley, who demonstrates flair for creating small moments of humour around intense menace really sets his marker down with this unsettling look into the world of a crime family in steep decline. Thanks to being mostly confined to the small rooms of your average two-up-two-down terraced house, the film has a sense of real claustrophobia which is accentuated all the more by the intensity of the drama. It's one of those films where even as people sit down to a family meal, you can sense the brewing violence in the air. The tight, confined spaces only serve to heighten the feeling of being trapped in these small rooms with psychotic characters. All the performances register strongly, the picks being Robert Hill (Bill) and Julia Deakin (Maggie), the mother and father of the house, or Godfather and Godmother. To begin with, Maggie has the demeanour of the loving, but downtrodden Mum who runs to the kitchen when the boys start arguing, but as things unfold her character develops and the performance is chillingly well measured. Anyone familiar with Wheatley's follow up film 'Kill List' will cheer when the likable Michael Smiley turns up in a similar small role. So, Down Terrace sets a strong precedent for a debut director with its realism, horror and blacker than black comedy