Awaydays

If there's one thing I have learned watching British cinema it is this: for a country that gave name to the English language, they sure know how to ruin said language. I seriously almost turned the movie off within the first 15 minutes because I could barely understand what anyone was saying. I've spent enough time in the UK to get most of the slang and whatnot, but the accents of the two main characters are just too thick. Plus, as one reviewer has already pointed out, the movie is rather bland. I think it wanted to be a slightly more dramatic version of Green Street Hooligans, but it ended up as a similar movie without much of the fighting or compelling story.

To be honest with you, I really like the idea of completely ditching the relationship between the two main characters. It's nearly impossible to follow and pretty pointless. And while I usually enjoy watching Stephen Graham do his thing, this role is a bit of a waste for him.

All in all I'd find it hard to give this a good recommendation to a friend. It's not awful, but it just feels kind of pointless. If it was more an interesting snapshot of England in the 1970's (along with the hooligan aspect) it would've worked a lot better. Throw in all the melodramatic pointlessness and it becomes increasingly less so. I guess you could watch it if you didn't have anything better to do, but that's all the endorsement I'm willing to give it.

This is has got to be one of the most bizarre movies I've seen in a very long time . It has the gloomy , gritty , realist kitchen sink drama you've seen a million times from every Ken Loach film . Somewhat conscious of this Pat Holden then introduces a contemporary soundtrack tothe film , a soundtrack that seems to go on and on . According to the wikipedia a grand total of 28 tracks are used throughout the running time . You can't get enough of doom laden nihilistic songs , tunes to slash your wrists to ? Then you'll probably enjoy AWAYDAYS . Oh and you're also a latent homosexual who can't catch enough homo erotic glances from male characters in a movie ? In that case you might just believe this is a gay , kitchen sink , pop video equivalent of GONE WITH THE WIND

These aren't necessarily criticisms and AWAYDAYS would go down very well with film students wanting to discuss kitchen sink British drama or gay cinema or wider existentialist themes . Certainly the look and feel of the movie resembles that of many classic PLAY FOR TODAY dramas but the problem is there seems to be three different type of films trying to escape

Certainly the best aspect of the film is its sense of time and place . Unlike Nick Love's remake of THE FIRM you really do believe the story is taking place in its chronological setting , so much so that Holden gives the impression that he owns a Tardis . The hairstyles and fashion and whole feel of the movie screams that it's 1979 Merseyside . However this is the only thing Holden manages to capture well and convey to the audience

It's interesting how extreme some of the reviews on this page are and after watching AWAYDAYS you'll take on board both the praise and criticism . Both sides are right in their arguments and I'm sticking by my one line summary at the top of this review

Tried desperately hard to enjoy this film and it seemed to start off OK but the mixed story lines, and slow moving scenes etc meant I was nodding off about half way through and found it a struggle to get to the end.

Some good bits but too jumbled and so many loose ends to really enjoy along with a damp squid of an ending that did it no favours. The sound track was probably the most enjoyable element with some decent 70's 80's tunes throughout.

As hooligan films go, bit more realistic in places than sum such as Green St which is utter tosh but not on the same level as the original film of the 'Firm' with Gary Oldman which is a classic and still the best in my opinion.

There seems to be some ill-will towards this tidy little parable and I cannot understand why.

Maybe the Joy Division fanboys feel the material is misplaced but I contend the great soundtrack is only used to set time and place and does not work in reverse like some latter day music vid.

Nor is it a 'hooligan' movie.

My own reaction was that this is a terrific effort, both from a committed cast and production side who nail the period in perfect British bleakness.

The football hooliganism feels like it is intended - a fantastical sideshow and not the main thrust of the film which centres around a lower middle-class lad's attempt for acceptance by a pack of working-class hooligans and the unrequited homosexual love between him and the pack's coolest member.

Carty, said middle-class lad, ultimately is a tourist, and the film conveys this superbly while whipping us along for the ride.

Pay little attention to those attempting to fold this boisterous creation into a pigeon hole; it stands on its own as a potent reflection of a sentimentally grim time in British culture.

Entertaining, admirable and bittersweet. Watch it.

The year is 1978; the hippies have been replaced by the punk rockers, the depressive artists following acts like Lou Reed, Ultravox and Joy Division under the ever gloomy landscape of Margaret Thatcher's reformed Great Britain. For many it was a time to put your head down and get on with it, no matter how depressing it might have been—and then for other's it was more of an opportunity to let loose; to express the frustration built up inside by the disappointing anti-climax of the nineteen-sixties revolutions; their now forgotten refrain of "all you need is love" now replaced with council flats, minimum wage and a cheap night out at the pub to somehow make up for a day's soul-crushing monotony. Yeah, it wasn't a pretty time, and some people didn't necessarily want to make it any better. Nope, rather it was not uncommon for youngsters of the time who had nothing better to do (no jobs, no prospects, and no educational benefits) to indulge in past-times akin to pouring salt in a wound or prodding at a loose tooth just for the sake of reminding yourself of your dire situation. The country had a massive abscess, and rather than going to dentist to get it seen to, the youth would seek to the anger out through arbitrary fights with rival football fans, just for the sake of it. Sure, in retrospect it might seem a little melodramatic coming from a culture that produced the moody post-punk acts of the seventies, but Awaydays seeks to marry that sense of romance, with something a little more human too.

For the most part, director Pat Holden succeeds in bringing out the potency to Kevin Sampson's novel that strives to overcome the somewhat petty, pedestrian nature of this "football hooliganism" counter-culture. The movie's first act which focuses highly on the utterly detestable and seemingly unredeemable characters who would take part in these shallow acts of psychological transference, is unsurprisingly the weakest—but what comes after is something a little more enlightening and insightful. After spending a good half hour with these chaps that you'd probably find hanging outside your local cinema harassing customer's to buy them a "bevy from the offy", Holden takes some time away from the cliché elements of Sampson's novel (domestic quibbles and teenage angst) and brings the focus onto the budding friendship of its two central characters Elvis (Liam Boyle) and Paul Carty (Nicky Bell) who are more than just drunken thugs with zero prospects.

Carty is an art-school dropout who finds a lifestyle he is suddenly attracted to in the form of Elvis who is an aspiring, romantic artist who also dabbles in a bit of thuggery and drugs to make sure he's not perceived as a "total ****". Both share a common love of girls, popular, rebellious music and of course, football—or rather, beating up football fans. Unfortunately, going by scripture set in vinyl by their Godfather Ian Curtis while this common ground brings them together for short periods of time, it also tears them apart. From the offset, Carty comes off as a day-tripping tourist in search of a few months living like common people, and Elvis as an overly self-conscious sheep who is never quite sure of what he wants or how to get it—yeah, teenagers. This in turn with Holden's persistence that his feature be brimming and truthful with the emotional roller-coaster that was teenage life of the time is going to disgruntle viewers, but only because of the subject matter, rather than the way in which he portrays such subjects. Rather, taken from a distance, Awaydays is surprisingly reflective of those troublesome years, but never succumbs to the one-track mind-frame that dominates its central characters—these guys have more faults than virtues sure, but Holden makes sure to give them more than one dimension that is fleshed out after the first act into a dynamic that is thought-provoking and insightful enough to make you forget their misgivings.

What really helps to keep Awaydays afloat however are the performances of its central cast who, spearheaded by the charismatic and nuanced portrayals of Elvis and Carty, nail the humanist tones that echo throughout Sampson's story. So as the movie goes on, it gets to a certain point where you actually feel for these two guys and their situation—you may not like them, but they become more than just caricature thugs glorifying their right to expression by cutting up strangers' faces. Of course, there are still problems going into the film's closing stages which result largely from the melodrama associated with all this romantic tint put on the two character's plight, but when taken in context of Holden's otherwise extremely grim and bleak tale of late seventies street crime, such minor distractions fail to take any major precedence. The result is a surprisingly mature memoir of a time dominated by teenage angst and rebellion against a rather inhospitable society that—although flawed—works far more than it necessarily should.

• A review by Jamie Robert Ward (http://www.invocus.net)