Rouge à lèvres et arme à feu

An out of work actress and a nurse blackmail a gang of bank robbers - but have they taken on too much? Imagine Lock Stock and Two Smoking Barrels with "Girl Power" and you've about found this movies level. Lots of comedy as Mel Smith shows he knows how to combine a funny script with slapstick humour, but without making the whole thing childish. A very good film I heartily recommend.

The first time I watched High Heels and Low Lifes it was on TV late, somewhat around 1 or 2 in the morning during the week. Having never heard of it before and not expecting anything, I kept watching it and ended up surprised. Sure, the story is a bit thin and there are no well known actors in it, but this movie simply works. In it's best moments, the chemistry between the two leading actresses works really well and is enjoyable to watch, plus the rest of the cast (especially the police) adds charm as well. It's just the right film to watch when it rains outside and you don't want any thrilling rides or deep plots but want smile or even laugh sometimes and just have a good time.

If this was a film about two guys, it would seem silly, stupid and highly improbable. For that matter, it would be hard to believe if both of the women were Americans, and the setting was New York or Los Angeles. But the setting is Britain, and although one of the women is American, the other is more conventionally English. The mix makes for enough reasonable doubt that the story seems at least imaginable. Otherwise, plots in which two women are the central characters in a send-up of gangster films are rare, and this one is treated intelligently. The two women are smart and quick witted. In contrast, the bad guys are not just goof balls, like the title would seem to imply. They are creepy and dangerous, and the two gals soon find themselves in over their heads. The tension sometimes approaches real drama, but it is ultimately a comedy,. It is well worth watching, although the ending may seem a bit abrupt. The two ladies have minds of their own and some great lines to say.

A lot of movies are made that have little significance or substance, but are `just for fun,' and wind up being forgettable, in general, as they are made with an eye on box office or projected video receipts, rather than on creating a film that is not only just for fun, but at the same time, worthwhile and enduring. Happily, `High Heels and Low Lifes,' directed by Mel Smith, is one of those rare gems of a little, just-for-fun movie that succeeds in being exactly what it was meant to be: Highly entertaining, and most importantly, fun-- and in a way that's not only memorable, but quite accessible and one that lends itself to multiple viewings, primarily because of it's stars, Minnie Driver and Mary McCormack, who make one of the most winsome and engaging teams to come along in quite some time.

After a fight with her boyfriend, nurse Shannon (Driver) is left to celebrate her birthday with her best friend, Frances (McCormack), an aspiring actress. Departing as he did in a hurry, Shannon's boyfriend leaves behind his recording equipment and the scanners that enable him to pick up telephone conversations he can record and use to create a kind of urban, new age music. And after a bit too much to drink, the girls start to fool around with the scanner, and happen across a phone conversation between a gang of crooks committing a robbery.

Driven to action by purely altruistic intentions (of course), the girls realize this is a chance to pick up a big chunk of change real quick, and they decide to contact and `negotiate' with the thieves for a part of the take. The girls tell them to cough up or they'll go to the police. Big mistake, as they have no idea who they're dealing with, or how big (and bad) the organization behind them really is. But Shannon and Frances are about to find out, and before it's all over, they just may wish they'd never heard of a `scanner,' or for that matter, a telephone. Then again, maybe not...

Mel Smith succeeds in crafting and delivering a high-energy, often hilarious romp through London and the surrounding environs, as he puts his stars through their paces in a way that generates plenty of laughs and makes his audience glad they came along for the ride. Smith sets a perfect pace that makes this a lively comedy, enriched by witty dialogue, wry British humor and the iridescent performances of Driver and McCormack, all of which makes this film more reminiscent of such fare as Michael Caine's `The Italian Job,' or any of the early Peter Sellers movies, rather than the more contemporary Farrelly Brothers/'American Pie' type humor that is so prevalent today. And, as such, it is refreshingly fun AND funny, and leaves you yearning for more of the same.

Since her auspicious motion picture debut as Benny in the heartwarming `Circle of Friends' in 1995, Driver has successfully filled her resume with films that run the gamut from black comedy (As Debi, `Grosse Pointe Blank') and straight drama (Rosie, `The Governess') to action (Karen, `Hard Rain'). Not all of her projects have been a success critically and/or at the box office, perhaps, but one would be hard-put to find a single performance of hers among them that is not engaging and credible. She's demonstrated time and again that she can hold her own with the big boys in the high profile films (alongside De Niro in `Sleepers,' Damon and Affleck in `Good Will Hunting'), and one of her most memorable performances is in what is arguably one of the best romantic comedies of all time, `Return To Me,' in which she plays Grace. All in all, in a comparatively short time, Driver has accrued some impressive credentials, and she never fails to live up to her promise-- and her portrayal of Shannon in this film is no exception. Using to great effect her quirky good looks and winning personality, combined with a discernible intelligence that points up a beauty that is much more than skin deep, here as always, she is a delight to watch.

Perfectly cast, as well, is Mary McCormack, as she succeeds in capturing the very essence of Frances, while proving to be a perfect complement to Driver's Shannon. McCormack has that same kind of well-rounded beauty as Driver, which indicates there's always something going on behind the eyes, and cinematically speaking, as a team it makes them a force to be reckoned with. Most importantly, McCormack brings Frances vividly and enthusiastically to life, and it goes far toward enabling the viewer to suspend disbelief long enough to just go with the flow and enjoy the high jinks of these two young ladies as they cut their swath across the English countryside.

In a terrific supporting role, Michael Gambon, as Kerrigan, is wonderfully droll, espousing that oh-so-wry-and-dry British humor in a manner reminiscent and worthy of Noel Coward at his best. Indeed, Gambon has some of the funniest lines, delivered so subtly as to evoke purely spontaneous bursts of side-splitting laughter from the audience. And when an actor can do that, he has without question succeeded in doing his job; which is exactly what Gambon has accomplished here.

The supporting cast includes Kevin McNally (Mason), Mark Williams (Tremaine), Danny Dyer (Danny), Darren Boyd (Ray), Simon Scardifield (Tony) and Len Collin (Barry). By definition, a comedy is a `movie (or play) of light and humorous character with a happy or cheerful ending.' Therefore-- by definition-- `High Heels and Low Lifes' is a `comedy' in every sense of the word. Thoroughly entertaining and enjoyable, it's a film that makes a promise for a good time to be had by all, then goes on to fulfill that promise. The magic is alive and well in this one, and that's the magic of the movies. I rate this one 8/10.

With her arty and selfish boyfriend busy recording digital signals in order to make an audio installation, Shannon goes out for a drunken night with her friend Frances. Coming home later that night they are messing around with the sound recording equipment when they pick up what they believe to be a bank robbery in progress. Trying to report it to a police station snowed under with muggers, pushers and drunken yobs, achieves nothing and the next day they hear on the news that the robbery has taken place. With the telephone number of one of the gang still written on her hand from the recording equipment, Frances comes up with the idea of blackmailing the robbers for a cut of the cash. Unfortunately for her, she forgets that the gang are criminals and soon the stakes are much higher than Shannon or Frances bargained for.

Everything about this film put me off it – the fact that it was a UK comedy, Mel Smith, the cast of British TV comedians and the poor reviews, but anyway I decided to give it a go when it came on television recently. From the very start the plot lacked any sort of credibility, relying on some very forced points to start the story and to keep it moving throughout. At times this is annoying but for most of the film the rough energy of the film just about covers just how very silly it is. The film is meant to be a comedy but it rarely made me laugh, but it did have just enough rough humour to it to make it reasonably enjoyable as a sort of brainless piece of entertainment. Of course it is not a great film but the undemanding viewer will at least find it is easy to watch.

The cast are a mixed bunch, some of them make the film better but generally the majority are given little to actually do. Driver and McCormack are enjoyable and fun to watch and they make good on what could have been stupid roles. They play it larger than life and, although never funny, are a big part of the film being at least a bit of fun. The support cast throws up a lot of well-known faces from both acting and comedy, but none of them really make a mark other than showing their face. Dyer, Gambon and McNally just show up and do their best but comedians such as Sessions, Williams, Eldon and Simpson don't really have any material to show what they can do. Director Smith makes a cameo and as director he does an OK job without really ever doing anything unique; I suppose he at least makes it look more professional that some British comedies have – shame he couldn't find the laughs.

Overall this is a poor comedy if you are looking for consistent laughs, but it has got just enough rough energy to keep it moving and it never made me feel like the laughs were missing so much as just not there (if you see the difference). Of course it is basic and simple but I was sort of in the mood for that and, meeting it on these terms, it made for passable entertainment but I'll forget it soon enough!