Pelo Prazer De Matar

The Encyclopaedia of Film Noir reckons that films have to be American to qualify as film noir. As a generalisation I can accept this but nor as a universal truth. New Town Kill is British (Scottish if you like) and it is clearly a film noir or, at least, a neo-noir.

I'm honestly deeply impressed with this British film, a phrase you will seldom hear me utter. Most Brit films are an embarrassment to me, being usually limp, unfunny and completely lacking in cool, style or engaging story. I'm glad to see the back of the Film Council and all the overpaid "executives" who dole out what remains of their money, after their fat salaries have been accounted for, for another flaccid waste of time.

This film, on the other hand, IS cool, engaging and genuinely exciting in a way that movies should be. The budget is clearly small but the acting talent on display is massive. The direction and writing by Richard Jobson are excellent and I just love the sheer nihilism of the plot and the fact that everything does not need to be justified or explained. The "villain" is completely amoral and the "hero", apart from family allegiances, is ultimately not much different.

A British film can be film noir and New Town killers is the proof.

PS If IMDb is for genuine film lovers then why do glossy American blockbusters get hundreds of reviews whilst really interesting independent films or foreign language films (i.e. non-American films) end up with a handful of reviews like this one?

This film has definitely made it its aim to philosophise about the value of life and money in our modern society while showing as many chasing scenes as possible.

I saw it 2 days ago and I'm still not sure whether it succeeded in either. Reflecting on it I realised that it actually developed the main question of what people will do for money in almost all the main characters but without any real revelations or novel answers.

References to Crime and Punishment seem to be a bit too much of a claim to real depth.

Overall I'd say, go and see it if you like Edinburgh or if you want to kill some time. As long as you don't expect a masterpiece you might enjoy it.

Having grown up in Edinburgh I expected to enjoy this film based on the comments of other reviewers. I also chose it for Dougray Scott who plays a mean if somewhat two dimensional villain in other films with entertaining results. I felt that the story was weak and rather predictable. However, that did not detract from the performance of the young male lead who I thought was excellent and utterly convincing as was his friend. Liz White continued to grow in my estimation with this performance having already seen her in "Life On Mars" and "A Short Stay in Switzerland". These actors far exceeded the capabilities of the script and the storyline and I will continue to watch for them in future releases. To be honest, their performances and the clever use of art and location in the film are the only reasons I have for giving this film a 7. If the score was for storyline alone, it would have garnered a 3.

This film's Edinburgh set crime thriller, which dips into murky chase torture at times has a sense that 'Lola' (the modern-ish German classic) is going to be parodied.

Obviously pitched at being outside of actual reality, where wealthy landlords, pimps or drug dealers (known in the film as 'private bankers') not only extort their penniless customers but also bait and taunt them, as in some cruel, sadistic game.

Unfortunately, this is no The Third Man (shadowy sinister characters lurking on dark corners), Lola (the 'chase' seems to be mainly driving about in a Jaguar saloon) whilst The Trainspotting vibes resonate most. Except, there simply aren't the oddly likable, charismatic characters in that, for a start. There's quite a few Hitchcockian twists with a silent, weaving camera teasing us, though.

It seems that the whole thing passed me by without making much of an impression. Not sure exactly where it fell down, maybe a bit in each. I daresay I'll have forgotten it by tomorrow. There have been US equivalents that have worked better, maybe for being more villainous, or better written, or better everything. It's not a bad effort, though and worth watching if it's free and not much else is on. Equally, it won't sink the indie Brit film scene but very definitely, unlike Trainspotting, won't set it alight either.

But with out a Jean Claude Van Damme or an Ice T it has a wee Scots lad in stead as the hard up hero getting mixed up with rich guys on a human hunting trip.

It starts with a title sequence thats Lucky Number McSlevin, red and black animated rooftops and soon as we realise the hard up Edinburgh kid is in a bit of a cash crisis and life's crap Dougray Scott turns up all Lance Henriksen like with a little offer of cash for a challenge.

The game begins, we get a lad running through the dark dark streets of Edinburgh that the festival brochure won't show, while Scott and his lesser sidekick give chase, playing coppers and starting on chavs (a lighter moment for those of us who dislike aggressive teenage gangs).

Reasons, motivations, peoples, none can be trusted during a long night where bars, clubs, gig venues are all packed out yet no one walks the streets and having been to Edinburgh this is a little silly.

Scott plays the hard Bastard a lot better here than in other films like MI:2 and Hit-man but there's no real connection to any characters part in the story so you feel more a witness to a dour hunting party rather than being involved in the chase.

After a while the film takes a change of pace and the outcome becomes less obvious but makes the lad being chased far to intelligent and clever to be where he is in life at the start. But it does have a nice conclusion.

This movies a bit boring in places and not as thrilling as i'd hoped but it's nice to have a British thriller without Danny Dyer, Tamer Hassan or a London setting which gives it a leg up on a few of it's peers. Worth watching even if it's just to support small independent British film.

One question though, if a buildings locked and you have to break a window to get in how come that's not an option when you need to get out?