Everybody Loves Sunshine

Just briefly.

The story is average, actually, two of them. The gangster story starts the movie, introducing us to the gang clashes between english and chinese gangs. One of the members wants out, to become involved in techno music.

This movie is not about betrayal, but about obsession. The gang is not the old gangster type (Michael Caine type). These have a background in urban english techno clubs. Goldie is, naturally, excellent in this environment.

The movie has good looks, the actors look cool, but some of the characters are undeveloped (Bowie has very little to do). The cars, which are kind of a trademark of the gang, look really good.

The music is excellent. I am not a big fan of techno, but this was super. When those cars pool by, you hear great techno music, which follows them.

The truth comes out at the very end, but I mean end. A little unorthodox way to wrap things up. And then you realize that there was no big stand-off, that you're not sure what happened (OK, you can guess, but not all).

All in all, not bad, but not great either.

Nix.

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.

This gritty, urban saga is not an easy movie to watch but it is such brilliant filmmaking that it will stay with you for a long time.

Inhabited by carefully drawn individuals and acted with a natural but grim reality. The film looks fabulous , the visual version of techno music, all black and shiny and more than a little dangerous. The music is also phenomenal.

This movie has all the makings of a classic tragedy and it delivers! Director Andrew Goth's writing is taut and effective. His direction is wonderfully stylized and enormously potent. And he is absolutely right in the role of Ray, the gentler cousin. David Bowie pops up throughout the film and brings a calming presence to the mayhem. And finally, Goldie, the music sensation is amazing and a very scary guy.

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.