Everybody Loves Sunshine

i watched this film straight after watching triads yardies and onion bhajees and was struck by the similarities in tone and filming methods. andrew goth plays a gangster trying to go straight by building up a music career but his cousin goldie decides to ruin everything. the locations are gloomy and you just know that everyone is going to suffer in this film. like triads, yardies and onion bhajees there is a gang war element to the film with the combined black and white gangs taking out the Chinese. a shootout in a Chinese restaurant is bloody and David bowie also stars as a sleezy gang leader. this film never got seen by a wider audience and its a pity because it is a good example of the new style of film making coming out of the uk. get it if you can on DVD as it is quite cheap to buy.

Based in MANCHESTER not London: they are 2 totally different cities and cant be confused with each other. Revolves around the huge gang problems found in Manchester in a mock Lock, Stock.. style and also trying to emulate the panache of a Tarantino. The film fails at both though!It is worth a watch for an alterantive British movie although the mediocre cast could never have made the film great - especially equipped with one of the poorest scripts I've ever seen. Bizarre fact is that the films countryside shots were filmed on the Isle Of Man in the Irish Sea - even though Machester is surrounded by huge amounts of land identical to that found on the Isle Of Man!

Saw this just earlier on THRILLERMax, Cinemax's suspense channel. I surmise the depictions of the locales, the club scene and the character's backgrounds are as indigenous to Londoners as BOYS 'N' THE HOOD would be to people from Compton, and ONCE WERE WARRIORS would be to those folks struggling in the metropolitan slums of New Zealand's larger cities. That said, if you're not a fan of EASTENDERS, Guy Ritchie or British flicks in general, you'll find it rough going deciphering most of the dialogue, never mind the street slang.

Writer/director/star Andrew Goth makes like a Brit Spike Lee with a much better body and a thicker accent, with his freshman tale of two former prison mates just released, (how they are related is not really made very clear; are they brothers in the familial sense, or just brothers in crime?), and the different paths they choose to take once they're out. Ray (Goth) wants to turn his life around and use his connections to do good in the neighborhood and help out some struggling dance troupe/musician mates, while Terry (Goldie) has been, is and always will be content to live the life of a 'G-man.'

I'm not familiar with Goldie's history as a singer/musician, but I did recognize him from his role in the ensemble cast of SNATCH. I'm sure that Goth's playing it low-key was the choice he thought was right for Ray, and he does have a magnetic, physical presence that is undeniably compelling. But if his acting even equals what success I've read about him having as a musician, Goldie has quite a future ahead of him. He is as mesmerizing and terrifying in his psychopathic portrayal of an unhinged street thug as anything ever essayed on-screen by actors of the same mold, (think Ice-T), and manages to rip the movie out of Goth's muscular grip every time they appear in a scene together.

Besides hungering for the one thing that he is willing to give to no one else: respect, Terry also has some kind of psychosexual obsession/fascination with his "brother." Kind of makes you wonder if anything went down between them behind bars...

Though I'm not an aficionado of the club scene or the music, the soundtrack was good, and definitely appropriate for the scenario. David Bowie's performance may seem stilted by comparison with the work he's done in other films, especially THE HUNGER and THE MAN WHO FELL TO EARTH, but then B.U.S.T.E.D. is not a showcase for him--it's allegedly Goth's baby, and I think he does a more-than-credible job with what little he's given to do.

The movie overall could've used a trim in some places where it definitely moves too slowly. Violence junkies won't find nearly enough to hold their interest, though there's enough misogynistic vibe to turn off any potential female viewers, as the pathologically jealous Terry assaults and tortures Ray's new girlfriend, (the comely Rachel Shelley), and the grisly death of a central character and his young son are shocking enough, IMHO. The ending is meant to be a jaw-dropper, but it's curiously unsatisfying, especially since not nearly enough was made of the Ray/Terry relationship to warrant the gasps it was meant to elicit from the audience.

Still, overall, it wasn't a bad start, and should Goth choose to give Hollywood a shot, he has shown that he has the basic knowledge (not to mention the looks) to attract some pretty serious attention. Ditto for Goldie, though I'm afraid that after this and SNATCH he could very well find himself typecast; all the more reason for him to keep his musical "day job," just in case.

Having a bit of the fascination for the UK at the moment, Goth's attempt at the 'gangster genre' has yielded some interesting results. The overall look is very slick and appealing in that shiny advertising manner. The music's good, although my knowledge of techno is limited. The 'bad-bwoy' vibe; dress, cars, sound systems, the walk, is there although lagging/strained in places. Some of the actors seem to be uncomfortable in/with their roles and scenes fall flat. The story lines of power and obsession are obvious but lacking in believability in areas. Overall, a worthy attempt. Nuff respect-wicked closing scene.

A great first-time film for Andrew Goth which is sure to disappoint a lot of Americans who seem to be able to decipher Bostonese, but have a hard time with English... The dialogue is gritty street slang, and the locales are real - the dismal British version of the working-class inner-city, telling the story of two gang-lords freshly sprung from prison. Goldie and Andrew Goth are cousins/brothers (it's never quite explained fully) and Goldie is basically obsessed with Goth (in a psycho-sexual kind of way). So when Goth decides to ditch the gangsta scene and hooks up with beautiful girl, Goldie naturally goes nuts and starts killing people.

Goth plays the part of the emotionally torn ex-gangsta well, trying to spend time redeeming himself at the local youth-club helping kids. The people there naturally distrust him at first for his former lifestyle, but they bond quickly enough to form a distinctly British version of a break-dance-troupe.

Goldie is brilliant as a thug - he probably draws from what he's seen as a younger lad - and plays a psychotic looney quite well... almost a little too convincingly - it's interesting to see him be the one NOT interested in music.

There is a sub-plot of Chinese gangs, which lends itself to some interest and is used to drive the plot, but is not explored quite enough. And then there's the presence of David Bowie, quite likely the reason people will rent this. He plays a cold, emotionless consiglieri and lawyer (homage to Godfather?) who keeps the gang's "honest" dealings, while blindly ignoring the murder and drug-pushing. Bowie plays the small but integral part brilliantly, in a very cold and sterile manner, proving his talent as an actor.

The movie is a great view into the criminal underworld of England - sometimes not understandable to Yanks who look to the gloss and floss of gangsta-rap and New Jack City for their dose of so-called criminal reality. This is a real world that the characters live in, where the poor people live side by side with drug pushers and killers, trying to survive despite the carnage and crime.

Highly recommended, but with a caveat - it isn't an Ice T rap video stretched out for 2 hours... This is decidedly British, with a lot of reference to their club, as well as inner-city culture, which differs greatly from the American version. Thus most of the movie will likely be undecipherable to American suburban white kids bred on MTV.