Brotherhood

Unfortunately the grit of the original two movies is well lost in this episode. The main two gangsters/bad men are completely unbelievable characters. One is like a runty cousin of Danny dyer (some Essex warrior who couldn't scare a granny), and the other 'hugs' comes across as a mincing Turkish footballer, who's acting is very wooden. The acting in general (apart from Noel's) is farcical, along with the Americanised story line , which takes things too far from potential reality. Even Curtis, who was pretty demonic in the second film comes across as a theatrical comedy villain. If you are going to attempt to cast in high level gangsters who run large grossing international business's, then please, make the characters believable. Some orange Essex boy in top shop garms just doesn't cut it. The great thing about the first two films was that they were believable to a certain extent, with the plots mirroring how life can be for large swathes of society in urban environments. For some reason Clarke took this one way beyond those parameters, and failed miserably. If parenthood is to happen as the 4th and final part, then please take it back to the original flavour. There is so much good new music and Yoot's (genuine rude boys who hang with well known grime artists) to ensure Clarke could create a realistic and believable film. Unfortunately, this film waters down the first two and comes across as a way to milk the good will built up.

Brotherhood is the third in the series of Noel Clarke films set in London and featuring Sam Peel . Sam has grown up and is a different person to the one we saw in Kidulthood but trouble still seems to follow him in the form of an enemy who has come to seek revenge. What I like about these films is they feel very real. Although Brotherhood is more polished than the two previous films it still has that Independent vibe about it. None of the people on show are particularly likable which makes it quite hard to care what happens to them and the language is uncomfortable to hear at times . The main villain's racism seems over the top and unnecessary and kind of spoils what is an interesting film.

Well...I'm disappointed but I still shed light tears at the last scene before the epilogue, and if you're a fan of the first two prequels, you might see why I did. It's the same tears you cry when your kid walks across the stage, or when you finish a video game, or on the last day of summer camp before you get on the bus back home. Just that sad sense that's it's over, after everything. I also feel disappointed that it's nothing like the 1st two.

(Oh, the film is about a guy all grown up trying to protect his family because he's still in danger with Grim Reapers following him around to avenge something he did in KiDULTHOOD. Watch it instead!)

Now first of all, this is so unrealistic, as you know. No one in their right mind would remain in the same borough when he's had people all over it try to kill him...It's such a short sighted film, I don't even have space to tell you about it!

It really hit how different things are this generation during the ending credits; the song that played was a popular British rapper...but nothing is British about it except his voice. The beat and how he raps compared to the ending credits in AdULTHOOD...I don't get the sense that I'm in London. It set sail on this ship away, far away, from the first two films, and then jumped ship, and then sank. If you're new to British films and want a good look at London life on the other side of Hugh Grant's and the queen's tracks, don't look at this film. Look at KiDULTHOOD.

KiDULTHOOD is a f*cking classic as far as British cinema, and I feel let down with this, and I feel I won't enjoy it as much anymore. It's all Noel's fault. All of his films get WORSE AND WORSE AS TIME GOES ON. I want someone to walk up to him and slap him with facts and reality. YOUR FILMS ARE SH*T, BRUV. Someone say it to him! He's losing it each time. He's trying harder and harder EACH TIME to impress his peers, whilst still thinking he can through bottom feeding.

This film is mediocre at best. The script? Lmao, Noel Clarke already struggled enough trying to make his characters sound hard but he's much better at that than trying to make them sound prophetic. The monologues of wisdom sprouting during scenes where in reality there would be no talking, like having a gun held to your face, were paradoxical at best. And oh yea, who died and made the little Polly Pocket road girl/female hoodlum Prophet Moses? It just didn't work because no girl in that actual position and lifestyle would even know the word "colloquial" nor be able to speak, much less sermonise. It just didn't fit, though I know Noel Clarke is trying to justify this vapid and kinda boring mess by preaching to the youth...because the youth are the main people in the audience. Which one of them didn't go bonkers when they saw rapper Stormzy in the ads?

Stormzy was all right. His role is nothing like his rap persona, though (and that's all right unless it undermines his persona instead of building an...acting career...?) He clearly was a fan of the 1st two films like many other 90s kids like he and myself, and so he wanted to be apart of this so I hope he likes it. And hopefully his character in the film walking away from the "thug life" (not that easy to) works for the "mandem and youngers" watching this to do the same, because otherwise it's just point- scoring for the critics, who probably half fell asleep leaning on their hands like, "what's this film for again?" And then, voila: words of wisdom suddenly stream through like a blimp ad in the sky, salvaging the film however they could.

I feel Noel Clarke abandoned the grit, the underground London life (in a film about gritty, underground London life?) because he's too COWARDLY to bring a film to the table honestly showing it. He's too SCARED to have a film with ACTUAL "roadman" London slang, he's AFRAID of what his industry mates will say. Granted, KiDULTHOOD was 10 years ago. And my have things changed based on this film, and I think Mr. Noel here wants to show he TOO has changed. The film is about SAM'S changes. Not NOEL'S. Even Stormzy's new song says "You're never too big for your boots."

One of the main things that even brought KiDULTHOOD to the forefront of British cinema (it did, and it made Noel Clarke's career), was the SLANG. The Grime music. The murky settings. The youths. KiDULTHOOD had real London life and music constantly in the backdrops. This...had nothing. I understand the enemies and stakes are on a higher level, so now there's a certain, errr...air of class and quality *gag* But the grime of the life that this film claims to be about was incredibly washed up and out?! Starting with the Rent-A-Roadmen. Who were the Drama School dropouts this film rented?

I'm so annoyed, I wish I even never knew there was a 3rd one. I can't even remember much of the film and it just finished 5 minutes ago. Yes...it's already happening...I'm already forgetting it!

OK Noel, try again with good movies about London, like KiDULTHOOD, AdULTHOOD (kind of), London to Brighton, Ill Manors... Someone slid a printout of a good idea at Noel Clarke and he balled it up in his hands and threw it over his shoulder like a used nappy/diaper. Done. *deletes movie off my computer*

This film took the trilogy from Spike Lee's "Do The Right Thing" to Tyler Perry's "Madea Goes to Jail." Now I wonder why Adam Deacon trolled Noel on Twitter....

Caught this today with my girlfriend and some friends. As fans of 'Kidulthood', 'Adulthood' and 'Anuvahood' (if counting), and seeing as it was a bank holiday Monday, we thought we'd go see it. A good, pretty much chavless crowd was there too. I was 14 when the first film came out and I remember the phenomenon it caused. I was 16 when the second arrived, and the reaction was even bigger, because of the first film. Now I'm 24 and the end is here. I feel I have grown up with these and they are special films. This is an entertaining, well-made end, if not a great one. Noel Clarke returns, amongst some other familiar faces. The supporting actors all do a good job but this is certainly Clarke's film. There's some pumping music, stylish edits and camera-work and the odd semi/fully naked woman to keep the lads happy. There's also some dark and repulsive scenes, that make this all the more gritty, as well as some good humour and deep messages too. It does feel like it needs Adam Deacon though, I must admit. I think fans of the first two films won't like it as much but it's a fitting finale. Overall, a decent end to a powerful trilogy that the target audience is sure to embrace.

STAR RATING: ***** Saturday Night **** Friday Night *** Friday Morning ** Sunday Night * Monday morning

Sam Peel (Noel Clarke) has settled down with girlfriend Kayla (Shanika Warren-Markland) and two children, and has put his unsavoury past behind him. But he is thrust back into it when his younger brother Royston (Daniel Anthony) is gunned down while performing at a live show. Flash new crook Daley (Jason Maza) wants him to work for him, and has joined forces with Sam's old enemy Uncle Curtis (Cornell John) who has his own agenda. Sam tries to stay on the straight and narrow, until an horrific act plunges him back into the underworld he'd tried so hard to escape.

Noel Clarke obviously felt, eight years after the last instalment Adulthood, that the series needed to be rounded off a little more than it already was, and so we have this, we are assured, the final part. Some backstage politics, shall we say, have clearly played their hands here, and so we see the Moony character missing altogether, and Sam mysteriously settled down with his girlfriend from the last film?!?, and of course Adam Deacon's Jay completely absent following the well documented real life spat that spewed up between him and Clarke. Personally, I didn't miss his hyper street kid antics this time round.

While it still packs a powerful emotional punch or two, somehow the raw, gritty, uncompromising nature that characterised the first two films just isn't as evident here. Those films (the first one especially) were from the mind of a young man who had grown up in this unfortunate world, and who gained acclaim by recklessly writing down and screening all the types of stuff he'd seen, and as a result made a film that was 'as potent as a shot of vodka in the morning' as one tabloid review memorably put it. With such a large space of time between this and the last film, the cast (those still in it) and the material with them feel like they've grown up a bit, and this time it all seems to be played more for laughs, even during intense, dramatic scenes, especially from Arnold Oceang's Henry.

That aside, the story all feels cobbled together without the strongest narrative flow and there's an air of predictability about a lot of it that doesn't go unnoticed. It's still worth seeing, though, a grown up, more seasoned ending that those from this generation will feel they've shared the journey with. ***