Tony

Tony is a dark character study focusing on a week in the life of Tony, a British serial killer living in a London tower block. A socially awkward individual, Tony kills because it seems to be his only way to resolve difficult social situations. It is easier for him to commit murder than to relate to other people.

To a certain extent, the film's examination of Tony resembles the 1980s film, Henry: Portrait of a Serial Killer. Peter Ferdinando's performance rivals that of Michael Rooker in the latter film, giving Tony depth and sympathy. However, the film has a class context that sets it apart from the earlier work.

Paralleling Tony's bleak existence is the blighted section of London he lives in. Walking aimlessly through poor neighborhoods and interacting with their inhabitants, Tony's behavior comes to seem an understandable reaction to his social environment. Indeed, many of the people he encounters come across as even more savage in their own ways, whether through overt aggression or bureaucratic indifference.

The film does have some flaws that prevent it from being a true classic. There are a number of scenes dedicated to establishing Tony's lack of social skills, which at times come across as overkill. Given that the film originated as a short film, these scenes seem like filler meant to bring it to feature length. Nevertheless, this British film is definitely worth a rent.

Tony watches action films on video cassette. He lives alone in a vertical street; a tower block in run down Dalston, a suburb of 'Broken Britain's' North London. Tony has not worked for over thirty years, and has no wish to do so. After all, he does have so much to do at home. This is at least what Tony tells his job centre adviser. This scene happens around the middle of the film, where we have already discovered that Tony has a penchant for murdering people in his flat. In protracted sequences throughout the film, we see Tony rigorously separate the body parts into their smallest components; wrapping them in newspaper and placed in corner-shop blue plastic bags for disposal. Whenever we follow Tony as he walks the streets, he is always carrying blue plastic bags. Tony has a lot of body parts to dump in the Thames.

Gerard Johnson's feature debut is a gritty serial killer movie, - clearly inspired by real-life British serial killer, Dennis Nilson (the Muswell Hill Murderer) - that follows a man completely alienated from his surroundings. He is Nilson in the early 1980's. He only watches action videos from that decade. Like Nilson, Tony (played with all the sweaty awkwardness needed for the character, by Peter Ferdinando) prefers to keep the bodies for company. He talks to them as they are placed on the sofa, or laid out in bed. Tony's life is a cycle of seconds of murder; hours of company; much time dismembering; and a long, perpetual task of bit-by-bit disposal.

Tony picks up men in gay bars. He persuades a couple of smack-heads to go back to his flat. A boy of 10 years goes missing on the estate. A large, stereotypical, aggressive working-class man targets Tony as an obvious target: His appearance could resemble that Daily Mirror image of the bespectacled, moustachiod loner, that so associated with a pederast.

Despite the grim, and inescapable bleakness of the film, director Johnson, finds room to add humour. The film resembles, stylistically, that of John McNaughton's excellently unresolved Henry: Portrait of a Serial Killer (1986). The same concept carries into this film. The life- goes-on attitude. Tony is a ghost in the narrative. Yes, he is the protagonist. But he only exists in his insular world. The space he has dwelt in for "ages". Outside he drifts through the busy streets unnoticed; he fades into obscurity amongst regular people. Anonymously carrying plastic bags of internal organs.

The film is self consciously 1970's in its approach; both stylistically, and thematically. in the latter of those two, '70's horror cinema tended to the ambiguity left by rare conclusions. For the first, this is low budget cinema. However, this is certainly made with style; it is highly competent filmmaking. We know immediately from the start of the film that the filmmakers influences in the golden-years-of-exploitation- cinema are a part of this picture; the typeface of the movie title 'Tony' are reminiscent of the title cards for the American exploitationers this really wants to homage. It is an incredibly well made contribution to the likes of Jeff Gillen and Allan Ormsby's Deranged (1974). However, Tony does not highlight the grotesque, like in much of the films it might be 'riffing' on.

Johnson's film looks like it could possibly fit into the working-class visuals of a kitchen sink drama - only through the eyes of a cold- hearted killer. Although, whilst we are repelled by Tony, do we also feel pathos for a character so out of touch with the world, that he will try and persuade a Chinese man selling DVDs on the street to sell him outmoded video cassettes? Tony is entirely disenfranchised. Because of this separation from reality, Tony is able to pass unseen. Or perhaps, like Mary Harron's American Psycho (2000), this is all imagined. (By the way, I don't believe at all that this was all imagined; that's just how I ended it.)

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This movie takes a small peek into the life of a middle-aged, lonely, action-movie obsessed serial killer named Tony.

Tony's life is dull. No job, no love-life, no real anything. He's just a human being that is going through the motions. Or so it would seem from the outside looking in. The movie Tony focuses on a killer that gets away with killing because that person, the type of person that Tony exemplifies, is never focused on.

One of the posters for this movie has a tag-line that hangs under the seemingly unaware and blood-smattered Tony, and says: It's Always the Quiet Ones. I can't say for sure if that's always the case or not, but it's something that we all think. That man looming alone under that tree. That guy with the blank stare who came out of nowhere to tell you what he thought of the store across the street. The ones that have their own agendas, but are never noticed…that is, until it's too late.

Tony is a well-thought out serial killer film that focuses on the character, the killer. And for it to work, the acting and writing not only have to be good, they should be realistic; and they were. Not only was our Tony played with style and intelligence, but every secondary character in the movie was also played well. The vibe of the movie and overall idea being displayed never faltered, and we were left with a study of a serial killer, that at one point, I began to feel pity for. Gerard Johnson, the director, needs to be applauded for the movies' fruition.

A rather short feature film that was chock full of fine performances and ideas. If you're in the mood for a different approach to the sub-genre of serial killers, I would definitely recommend you give this a shot. This film and the amazing, Angst, would make for a great serial-killer double feature.

This film literally just drops you into Tony's life and then drops you right back out again. The fact that i was so desperate for more is a good sign that what I did see was great. And the ending itself was quite well done with a great piece of music that, with what had come before, had deeper meaning for me - in other words it made my skin crawl. Which again, is a good thing !

I am assessing by its very simple decor, locations and shots that this was quite low budget which is a credit to the film-makers, actors and script writers. The story is completely focused on the life of a man named Tony. One could describe him as a loner, depressed, socially awkward and well...passive. As we get to see Tony though we come to the conclusion that he is more than f#@ked up and has crossed the 'weird psychopath' line well and truly.

I mean the guy has a Paul Young cassette for Christ sake!!!

The movie hinges on tony, a mild, meek guy, actually being a serial killer that like some real life serial killers (Nielsen, Dahmer) seems to crave company and not to be socially rejected. There is clear connection to the mentioned real life killers in Tony as he attends gay bars and only seems to kill men. Though Tony has a life and identity of his own and for the brief time I did get to follow him i was into it.

Those seeking blood, guts, gore, action, jump scares forget it. Tony is a character study which lingers artistically and builds a layer of dread throughout instead of shoving everything in a sleek, fast edited production.

Meet Tony, perhaps the most understated and naturalistic Serial Killer ever put to the cinema screen...

I saw this film at Manchester's Grimm Up North festival and was completely taken by surprise. Not knowing quite what to expect, the film grabbed me from the first minute with a deliciously dark, creep and comic turn by Peter Ferdinando as the titular character. Made with an intelligence rarely seen in this end of the genre scale, Tony is fascinating from beginning to end, and offers a great social comment on London's outsiders, and how society treats the 'invisible' amongst us.

Working with a low-budget, the filmmakers have made a classic film here, with every element of the film's production worth a shout. The direction from Gerard Johnson is superb, the acting from all concerned is spot on, the cinematography lends the film a suitably dark and grimy feel and the music, by Matt Johnson from The The fame, matches the visuals perfectly without ever detracting or pulling you out of the film's journey.

But it's Peter Ferdinando who really stands out here, creating a character that deserves to take pride of place next to other famous filmic serial killers such as Henry, Patrick Bateman, Dr Lecter and Ezra Cobb from Deranged, with a pitch-perfect tone that would, in all honesty, creep you out if you ever met him on the street.

I hear the film is due a release in the UK in February, and thoroughly recommend you make the effort to see it. UK low-budget film-making of the highest order...