Dark World

There are movies that, despite their lack of budget and film-makers' experience within the medium of film—despite their failings in telling a coherent, and entertaining story, nevertheless excel in their ability to enthral through idea and theme alone. Franklyn which too often sets out in this manner, in turn neglecting engaging narrative for contorted, mystery-tinged manipulation, is not one of those select few features. Restricted by a small budget and the director and writers' inexperience with feature length productions, the film is interesting to a certain degree but too often falls flat when trying to compel the viewer either through character or plot. Indeed, the only sole reason to continue watching a film such as Franklyn is to find out what the hell is going on; and then you get to that finish line only to realise that the payoff isn't quite what you expected. The result is a feature that feels half-baked, underdeveloped and frustratingly vague for its first two acts. So much so that by the time director Gerald McMorrow decides to show us his hand, we've more or less left the table and cashed in our chips.

The problem with Franklyn isn't that it is short on ideas, but that it is short on ideas upon which to implement the themes and arcs to which McMorrow obviously wants to get across. For sure, this is an original, interesting and intriguing piece of work; but it's also dreary and tiresome at the same time. First time viewers should not be alarmed if plot details go amiss, or if the story seems overly convoluted, disconnected and a little contrived—because this is exactly how McMorrow pens his tale. It's deliberately withholding for a reason, and that is because without that sense of mysticism and deliberate manipulation, Franklyn is a mirthless experience. Taken on face value in retrospect, the ninety minutes doesn't feel completely wasted, but there is a certain degree of fallacy involved here that comes off as cheap and overly ambitious. Indeed, this is a bold effort from the first-time filmmaker, and one has to applaud such an audacious venture—but it's also very hard to be convinced by Franklyn either in its grandiose tale, or its dubiously surreal and contorted narrative.

For the majority of the feature, we are treated to four stories revolving around four separate characters split over what appears to be two very different timelines of alternate dimensions (this is, of course, merely a subjective speculation on the part of myself, as the truth behind the events of the film are never truly explained—and fair enough, I suppose). Each of the characters have their own little quirks; Emilia (Eva Green) is an extremist artist driven to video-tape serial suicide attempts made by herself; Milo (Sam Riley), a romantic who has recently been left at the alter; a masked vigilante named Preest (Ryan Phillippe) who occupies the alternate reality within a city named "Meanwhile City" ruled by religion and dogmatic oppression; and a father in search of his son gone missing after a traumatic event involving his sister's death.

At first, all the characters within Franklyn's two worlds seem distinct from each other, and without and form of link—so much so that much of the feature's initial hour is slow moving and irksomely disjointed from any sort of clear focus or direction to the first time viewer. Yet as the plot unravels, and metaphysical realities are explored with death, imaginary friends and delusional beliefs briefly analysed, the seeds that are planted during the initial acts begin to blossom. It is disappointing then that by the time McMorrow pulls the proverbial rug on us, we don't really care anymore. Confined also by the limitations of such vague narrative and an ending that brings everything together in a poetic but fruitless manner, Franklyn eventually crumbles under its own weight and pretension. It's a movie that tries too hard to be larger than it really is on paper, and the cracks are all too obvious.

In the end, I wanted to like McMorrow's work here a lot more than I actually did—it's brave, interesting and makes some intriguing statements on the nature of reality and our perceptions of such manifestations to ourselves as human beings; but at the end of the day I couldn't bring myself to be convinced or won over by the implementation of such ideas. For sure, there was potential here within the bare-bones skeleton of McMorrow's premise and themes—but burdened with obstructive restrictions both in a narrative sense and a production sense, Franklyn simply never comes off the page like it should, and the result is lukewarm in every regard; sporadically intriguing, but overly flawed—I have to wonder why this made the big screen at all; I got the feeling that it could have made an even better mini-series for TV.

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

Reading a synopsis of the film, I feared that it would be full on sci-fi ... but thankfully there were two strands - one set in contemporary London, and another of the more fantasy version ...

It really is the sort of film where knowing too much about the plot before seeing it, will spoil. I would say that if you like films where all the strands are nicely tied up at the end, you will be frustrated. A few of the strands are resolved, but I still can't work out what a couple of the characters were up to !

Eva Green has the largest role, and is mostly good, but at times she seems a bit wooden. Sam Riley was quite convincing as a bit of a loser, and Ryan Phillippe seemed to enjoy his masked role.

I saw the premiere at The London Film Festival and the director explained that some of the sci-fi imagery was based on the spires of Cambridge. Ryan Phillippe said that he did indeed act in all the masked shots, even those where he fights the "clerics" - having studied martial arts since he was eight !

This film will make you think, but be prepared for a gradual exposition, rather than any great revelations.

This movie really is difficult. Not only to describe (it is far too complex for it's own good/commercial success), but also to watch and follow the plot. While there have been other movies who played with the time factor (and/or other stuff, which I won't say anything about here, so it won't spoil anything for you), not many refused to explain themselves to you.

In other words: While many other movies with the same or similar theme, show you the same scenes twice (or maybe even more often), this movie does not give you this luxury. You have to stay focused to get it. Of course the main plot and the big details will be easy to grab. But again, only if you let yourself into the movie. But this movie allows you to watch it a few times and catch nuances, small things, you might not have seen/understood, the previous time(s) you watched the movie. A complex, but rewarding viewing experience then

I've just come back from the premiere at the London film festival and I've thoroughly enjoyed, it but before I say anything, do not expect it to be "a mix between V for Vendetta and the Dark knight" which is a complete nonsense I read earlier, it's nothing like it.

In fact, the sci fi element is only a small (albeit crucial) part to the story, most of it taking place in present day London.

It's more of a psychological drama, a bit of a slow starter as well until all the pieces are put together and it starts making sense. To be honest the less you know about the story, the better otherwise it will ruin your enjoyment

The acting is excellent, I would say it really is Eva Green's movie, she shines throughout the movie with a rather difficult role and is absolutely beautiful. Sam Riley and Ryan Philippe are very good too although they have a little less material to play with.

I think it's going to be hard sell as it is unlike anything I have seen, and if they try to market it as an action/sci fi movie, it will be very misleading but I still definitely recommend it if you're looking for something a bit different.

The main page review for Franklyn on IMDb (at the time of writing) is telling. It is telling because the whole reason it praises (and indeed the only way it discusses) this film is in relation to the "popcorn cattle" that presumably won't appreciate this film. This I see a lot – anything different is seized upon by those seeking to elevate themselves above the normal cinema public – the same writer may also go out of his way to hate blockbusters whether he/she liked them or not. I can understand this approach to the film Franklyn because, superficially it does offer the Gothic thrills of a bigger budget film but with the creativity and intelligence that the interweaving, real/fantasy parts of the film bring. Or, could have brought I should say because the problem with the film is that it is not the intelligent, complex and well-written film that it (and those that rushed to love it for being different) wanted to be.

I went through a cycle with this film. At first I was engaged and curious, then that started to become a bit of confusion as my curiosity didn't get fed, this was then followed by a touch of impatience as things didn't seem to be coming together. Finally I ended up with a bit of apathy as the film brought itself together in a way that sort of didn't make sense, sort of seemed rushed and sort of seemed overly obvious and easy. And this is why the film doesn't work – because all the ideas, like the threads, just don't come together in a way that works. OK this might be a problem at the end of the film but this feeds backwards through each thread, keeping them separate, removing clarity and meaning each thread has to stand on its own. The fantasy world of Meanwhile City manages this, despite feeling like a cross between Dark City, V for Vendetta and Rorschach from the Watchmen graphic novel. However Emilia's thread feels, like her character, self-indulgent and petulant without anything to get the viewer into it and keep them there. Milo's thread sort of engages in regards the creation of fantasy worlds but it never really works or engages.

It isn't "bad" though but it is never more than OK because it the central problem of it essentially not working as a single story and also struggling even as individual threads. The cast are a mixed bag. Phillippe makes for a tough anti-hero and has a much better presence than I expected him to have but doesn't have the material to work with, and spends his "best" scenes in a mask. Green puts her all into it and delivers the script well – unfortunately this means the problems with her thread and character are all up there for all to see. Riley is surprisingly weak; I recognise that that is an aspect of his character but his performance didn't do anything for me. Hill is strong and it is just a shame that the film doesn't reward his work with more – he certainly seems to have an understanding of where he fits into the film.

The superficial appeal and intelligence of the film offer a potential that it never lives up but it does offer enough to make it feel like a shame when it fails to deliver. I'm sure the film will have a cult following but for me (and I imagine many casual viewers) it disappoints in its failure to come together with the intelligence and creativity that it should have had.