Franklyn (2008) Poster

Franklyn (2008)

  • Rate: 6.1/10 total 8,460 votes 
  • Genre: Drama | Fantasy | Sci-Fi | Thriller
  • Release Date: 27 February 2009 (Ireland)
  • Runtime: 98 min
Our Score
97/100
321 user reviews.

User Score (vote now)
1 Star2 Stars3 Stars4 Stars5 Stars


You're here : » » Franklyn (2008)...

Warning: simplexml_load_file(http://gdata.youtube.com/feeds/base/videos?q=Franklyn+2008+trailer&client=ytapi-youtube-search&alt=rss&v=2&max-results=7): failed to open stream: HTTP request failed! HTTP/1.0 410 Gone in /home/easymovy/public_html/wp-content/themes/streamplex/functions.php on line 50

Warning: simplexml_load_file(): I/O warning : failed to load external entity "http://gdata.youtube.com/feeds/base/videos?q=Franklyn+2008+trailer&client=ytapi-youtube-search&alt=rss&v=2&max-results=7" in /home/easymovy/public_html/wp-content/themes/streamplex/functions.php on line 50

Franklyn (2008)

Share/Bookmark

Franklyn 2008tt0893402.jpg poster

  • IMDb page: Franklyn (2008)
  • Rate: 6.1/10 total 8,460 votes 
  • Genre: Drama | Fantasy | Sci-Fi | Thriller
  • Release Date: 27 February 2009 (Ireland)
  • Runtime: 98 min
  • Filming Location: Lincoln's Inn Fields, Holborn, London, England, UK
  • Budget: $12,000,000(estimated)
  • Gross: $146,198(UK)(15 March 2009)
  • Director: Gerald McMorrow
  • Stars: Ryan Phillippe, Sam Riley and Bernard Hill
  • Original Music By: Joby Talbot   
  • Soundtrack: Meechs' Theme
  • Sound Mix: Dolby Digital
  • Plot Keyword: Detective | Masked Vigilante | Redhead | Cross | One Word Title

Writing Credits By:

  • Gerald McMorrow (written by)

Known Trivia

  • Initially, Ewan McGregor, Paul Bettany and John Hurt were set to star, but the film’s schedule was thrown when McGregor broke his leg in a biking accident and was forced to drop out. Eva Green remained the only member of the original cast.
  • Bernard Hill replaced John Hurt.
  • Preests statement – “If a god is willing to prevent evil, but not able, then he is not omnipotent. If he is able, but not willing, then he must be malevolent. If he is neither able or willing then why call him a god? Why else do bad things happen to good people?” – is almost directly lifted from Epicurus, who is credited with first expounding the problem of evil. David Hume in his Dialogues concerning Natural Religion (1779) cited Epicurus in stating the argument as a series of questions: “Is God willing to prevent evil, but not able? Then is he impotent. Is he able, but not willing? Then is he malevolent. Is he both able and willing? Whence then is evil?”

Goofs: Continuity: The man talking to Milo in the room where the red haired woman disappeared to and another unseen character added some tiles to his original cross shaped design on the table. After Milo leaves the camera tilts down as the man writes into his notebook and the additional tiles are gone, reverting back to the cross shape.

Plot: The film is a split narrative set simultaneously in contemporary London and in a future metropolis ruled by religious fervor… See more »  »

Story: The film is a split narrative set simultaneously in contemporary London and in a future metropolis ruled by religious fervor. It's the story of four lost souls, divided by two parallel worlds, on course for an explosive collision when a single bullet will decide all their fates.Written by Anonymous  

FullCast & Crew

Produced By:

  • Peter Carlton known as executive producer
  • Simon Fawcett known as executive producer
  • Nick O'Hagan known as co-producer
  • Alexandra Stone known as co-producer
  • Jeremy Thomas known as producer
  • Peter Watson known as executive producer

FullCast & Crew:

  • Ryan Phillippe known as Preest / David Esser
  • Sam Riley known as Milo
  • Bernard Hill known as Peter Esser
  • Richard Coyle known as Dan
  • Eva Green known as Emilia / Sally
  • Susannah York known as Margaret
  • James Faulkner known as Dr. Earlle / Pastor Bone
  • Helmut Christian Kirchmeier known as Street Preacher
  • Hilary Sesta known as Female Preacher
  • Matthew Flynn known as Cleric 1
  • Janetta Morrow known as Guilty Woman
  • Doug Allen known as Cleric 2
  • Roger Frost known as Washing Machine Preacher
  • Sam Douglas known as Saul
  • Stephen Walters known as Wormsnakes / Wasnik
  • Art Malik known as Tarrant
  • Mark Wingett known as Frank Grant
  • Dolly Wells known as Nurse
  • Tim Steed known as Medic 1
  • Ray Perrotte known as Medic 2
  • Dominic Copestick known as Young Milo
  • Nathalie Simmons known as Young Sally (as Natalie Simmons)
  • Gary Pillai known as Doctor
  • Georgia Mackenzie known as Teri
  • Liz White known as Laura
  • Stuart McQuarrie known as Clunes
  • Billy Geraghty known as Teacher
  • Shannon Cussens known as Sarah
  • Kika Markham known as Naomi
  • Audrey Palmer known as Tarrant's Secretary
  • Jotham Annan known as Medic 3
  • Andrew Care known as Market Trader (uncredited)
  • Jay Fuller known as Monk (uncredited)
  • Jeanie Gold known as Patient (uncredited)
  • Sid Karne known as Coffee Boy (uncredited)
  • Danielle Victoria Sambrook known as General Market Crowd (uncredited)
  • Allan Williams known as Mah Jong player (uncredited)
  • Chris Wilson known as Police Officer (uncredited)
  • Evie Wray known as Cafe girl (uncredited)

..

 

Supporting Department

Makeup Department:
  • Saynab Awaleh known as additional assistant hair stylist
  • Elena Diaz known as additional makeup artist: reshoots
  • Sarah Downes known as additional makeup artist: crowd
  • Andrea Finch known as crowd makeup supervisor
  • Etuko Fujiwara known as additional makeup artist: crowd
  • Gigi Hammond known as hair trainee
  • Gigi Hammond known as makeup trainee
  • Marie Le Bihan known as hair stylist
  • Marie Le Bihan known as makeup artist
  • Elizabeth Lewis known as crowd makeup coordinator
  • Bea Millas known as hair supervisor
  • Bea Millas known as makeup supervisor
  • Susana Mota known as additional makeup artist: crowd
  • Yonny Ospia known as additional hair stylist: crowd
  • Ayumi Otani known as additional makeup artist: crowd
  • Emma Sheldrick known as makeup artist
  • Giada Venturini known as additional hair: crowd
  • Giada Venturini known as additional makep artist: crowd
  • Wakana Yoshihara known as hair designer
  • Wakana Yoshihara known as makeup designer

Art Department:

  • Giles Asbury known as storyboard artist
  • Dan Bryant known as dressing props
  • Chris Cull known as property master
  • Alice Felton known as production buyer
  • Toby Harvard known as storyboard artist
  • Felicity Hickson known as graphic artist
  • Bethan Jones known as art department assistant
  • Dominic Lavery known as concept illustrator
  • Melissa Magna known as production buyer
  • Lisa McDiarmid known as stand-by art director
  • Simon Riley known as props
  • Tom Roberts known as stand-by props
  • Dominic Sikking known as graphic artist
  • Lloyd Vincent known as chargehand stand-by props
  • James Wakefield known as assistant art director
  • Lee Wiseman known as props
  • Thomas Jones known as weapons mould maker (uncredited)

..

 

Company

Production Companies:

  • Recorded Picture Company (RPC)
  • Aramid Entertainment Fund (financed by)
  • Film4 (financed by)
  • UK Film Council (financed by)

Other Companies:

  • Aramid Capital Partners  funding
  • Aramid Entertainment Fund  funding
  • Bonded Services  film storage
  • Dolby Laboratories  sound mix
  • Eastside Communications  publicity: Germany
  • EuroKids & Adults International Casting and Model Agency  child extras
  • Film Finances  completion guarantor
  • Film4  funding
  • Honig Company, The  publicity
  • Kodak  motion picture film supplied by
  • Rapid Talent  extras casting
  • Sapex Scripts  post-production services
  • UK Computamatch  negative cutting
  • UK Film Council  funding

Distributors:

  • Cathay-Keris Films (2009) (Singapore) (theatrical)
  • Contender Entertainment Group (2009) (UK) (theatrical)
  • Inmoa Entertainment (2009) (South Korea) (theatrical)
  • Mediafilm (2009) (Italy) (theatrical)
  • Odeon (2009) (Greece) (theatrical)
  • Seville Pictures (2009) (Canada) (theatrical)
  • Zon Lusomundo Audiovisuais (2009) (Portugal) (theatrical)
  • Ascot Elite Home Entertainment (2009) (Germany) (DVD)
  • At Entertainment (2011) (Japan) (DVD)
  • DeA Planeta Home Entertainment (2010) (Spain) (all media)
  • Front Row Filmed Entertainment (2008) (United Arab Emirates) (all media) (Middle East)
  • Image Entertainment (2009) (USA) (DVD)
  • Image Entertainment (2009) (USA) (DVD) (Blu-ray)
  • Ledafilms (2009) (Argentina) (all media)
  • Quality Films (2009) (Mexico) (all media)
  • Sandrews (2009) (Sweden) (DVD)
  • Sandrews (2009) (Sweden) (DVD) (Blu-ray)

..

 

Other Stuff

Special Effects:

  • Double Negative
  • Machine (visual effects)

Visual Effects by:

  • Louie Alexander known as retouch and restoration supervisor: Framestore-CFC
  • Papavramides Alexandra known as digital compositor: Double Negative
  • Szvák Antal known as visual effects coordinator: Cube Effects
  • Gergely Barta known as digital compositor: Cube Effects
  • Zoltán Benyó known as visual effects producer: Cube Effects
  • Zachary Bloom known as scanning and recording: Framestore CFC
  • Richard Briscoe known as visual effects supervisor
  • Clare Brody known as data operator: Framestore
  • Mikael Brosset known as visual effects: double negative
  • Péter Bujdosó known as matte painting supervisor: Cube Effects
  • Paul Burke known as scanning and recording: Framestore
  • Andy Burrow known as scanning & recording manager
  • Vajda Bálint known as rotoscope artist: Cube Effects
  • Dave Calub known as retouch and restoration: Framestore
  • Ronan Carr known as restoration artist: digital restoration
  • Charlotte Collings known as visual effects line producer: Machine FX
  • Ryan Cook known as visual effects supervisor
  • Zoe Cousins known as scanning and recording
  • Mária Czeglédi known as rotoscope artist: Cube Effects
  • Ana Mestre de Almeida Pereira known as roto/prep artist: Double Negative (as Ana Mestre)
  • Liana Dunleavy known as retouch and restoration
  • Laboncz Edina known as digital paint and rotoscope artist: Cube Effects
  • Richard Edwards known as data operator: Framestore CFC
  • Rob Ellis known as flame artist
  • Péter Farkas known as lead roto artist: Cube Effects
  • Bruno Fernandes known as digital compositor: Machine FX
  • Dániel Forgács known as lead matchmover: Cube Effects
  • Papp Gabriella known as rotoscope artist: Cube Effects
  • Theodor Groeneboom known as digital compositor
  • Pete Hanson known as studio manager: double negative
  • Adam Hawkes known as retouch and restoration supervisor: Framestore-CFC
  • Karsten Hecker known as film mastering engineer: Framestore CFC
  • John Inch known as retouch and restoration
  • Ludovic Iochem known as concept artist: Double Negative
  • Alex Ireland known as digital compositor
  • Horváth Gál István known as rotoscope artist: Cube Effects
  • Brian Krijgsman known as colourist: Framestore CFC
  • Réka Kálóczy known as rotoscope artist: Cube Effects
  • John Lockwood known as visual effects supervisor
  • James Long known as data operator: Framestore CFC
  • Kevin Lowery known as film mastering engineer
  • Simon Martinsson known as digital compositor
  • Gurel Mehmet known as concept artist: Double Negative
  • Edwin Metternich known as retouch and restoration: Framestore
  • Standish Millennas known as visual effects producer: Machine
  • Derek Moore known as visual effects supervisor
  • Papp Nikolett known as digital compositor: Cube Effects
  • Peter Olliff known as visual effects editor: Double Negative
  • Adam Parker known as retouch and restoration: Framestore
  • Gábor Piszter known as rotoscope artist: Cube Effects
  • Attila Polgár known as rotoscope artist: Cube Effects
  • Paul Raeburn known as digital compositor
  • Lee Rankin known as scanning and recording: Framestore
  • Safiya Ravat known as digital compositor
  • James Reed known as scanning and recording
  • Tania Richard known as concept artist
  • Tania Richard known as matte painter
  • Jimmy Saul known as scanning and recording
  • Foad Shah known as digital compositor: Double Negative
  • Asa Shoul known as digital colourist
  • Andrew Simmonds known as digital artist
  • Jeevan Singaram known as digital compositor
  • Nick Stanley known as retouch and restoration: Framestore
  • Jim Steel known as digital compositor: Double Negative
  • Steve Street known as visual effects supervisor
  • Makai Szabolcs known as visual effects line producer: Cube Effects
  • Gábor Székely known as technical director: Cube Effects
  • Richard Sällqvist known as digital compositor
  • Ria Tamok known as digital compositor: Cube Effects
  • Pál Tauszig known as digital compositor: Cube Effects
  • Odean Thompson known as digital paint artist: restoration: Framestore
  • Jenõ Udvardi known as visual effects producer: Cube Effects
  • Christoph Unger known as digital artist: matte painter
  • Dan Victoire known as conform editor
  • Attila Vócsa known as rotoscope artist: Cube Effects
  • Guy Williams known as environment lead
  • Christine Wong known as digital compositor
  • Kristopher Wright known as visual effects producer: Double Negative
  • Péter Zavorszky known as visual effects production manager: Cube Effects
  • Taz Lodder known as technical support: Double Negative (uncredited)
  • Veronica Marcano known as scanning and recording operator: Framestore (uncredited)

Release Date:

  • UK 16 October 2008 (London Film Festival)
  • Ireland 16 February 2009 (Dublin Film Festival)
  • UK 16 February 2009 (Glasgow Film Festival)
  • Ireland 27 February 2009
  • UK 27 February 2009
  • Germany 7 March 2009 (Berlin Fantasy Filmfest Nights)
  • United Arab Emirates 19 March 2009
  • Romania 27 March 2009
  • Italy 17 April 2009
  • Czech Republic 29 April 2009 (DVD premiere)
  • Greece 7 May 2009
  • Lebanon 18 June 2009
  • Switzerland 1 July 2009 (Neuchâtel International Fantasy Film Festival)
  • Kuwait 9 July 2009
  • Germany 23 July 2009 (DVD premiere)
  • Turkey 31 July 2009
  • Sweden 12 August 2009 (DVD premiere)
  • Canada 15 August 2009 (Toronto After Dark Film Festival)
  • Taiwan 12 September 2009
  • Romania 28 September 2009 (Iasi International Film Festival)
  • Israel 3 October 2009 (Haifa Film Festival)
  • Portugal 8 October 2009
  • USA 1 November 2009 (Fangoria Trinity of Terrors)
  • Australia 5 November 2009 (limited)
  • USA 17 November 2009 (DVD premiere)
  • Hungary 2 December 2009 (DVD premiere)
  • Egypt 27 January 2010
  • Mexico 5 February 2010
  • France 7 April 2010 (DVD premiere)
  • Spain 10 December 2010
  • Japan 21 January 2011 (DVD premiere)

MPAA: Rated R for language

..

 
 

Filmography links and data courtesy of The Internet Movie Database


Franklyn (2008) Related Movie


Baby Mama (2008) Movie Poster
Immigrants (L.A. Dolce Vita) (2008) Movie Poster
Tear This Heart Out (2008) Movie Poster
The Caller (2008) Movie Poster
Bronson (2008) Movie Poster


Posted on March 30, 2012 by Harry in Movies | Tags: , , , , .

10 Comments

  1. ldealberti (laurentdealberti@gmail.com) from United Kingdom
    30 Mar 2012, 9:19 pm

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

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

    It's more of a psychological drama, a bit of a slow starter as welluntil all the pieces are put together and it starts making sense. To behonest the less you know about the story, the better otherwise it willruin 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 isabsolutely beautiful. Sam Riley and Ryan Philippe are very good tooalthough they have a little less material to play with.

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

  2. thesandfly77 from United States
    30 Mar 2012, 9:19 pm

    Yes, it's a slow, slow build-up featuring seemingly unconnected storythreads, fantastical settings and comic-book characterisation. Yes,it's all a bit of a muddle at times, and plays like the disconnectedfast-cut chapters of a cynically devise modern supermarket bestsellingnovel.

    But it's different.

    Not out-there different, just stoically different from the averageHollywood committee-designed faux art-slice. It's a film that refusesto bend to the will of popular expectation and also to the viewer'sclamouring desire for exposition.

    For that it's to be applauded; it seems remarkable it managedmainstream distribution given the fact so many will be 'bored' ('man')awaiting the connections to satisfy their anticipation.

    And you may well gather what's going on before it's explained (with alittle ultimate dubiety) on screen, but this is still a well-executedpiece of cinema with a solid cast that dares to offer something alittle different to current lame traits after seemingly setting itselfup as just another by-the-numbers collage.

    Clever at times, atmospheric, beautifully shot with a good cast. Worth,nay deserving, of a watch as a mild antidote to patronising Hollywoodmainstream. A solid seven out of ten.

  3. mcravener from Stockholm, Sweden
    30 Mar 2012, 9:19 pm

    I've seen a few movies similar to this, using sci-fi/fantasy imagery toportray an internal state of mind. Too intellectual for some I guess,and it definitely goes beyond 'what you see is what you get'.

    This movie worked for me. Some have been critical that the charactersin the film were not interesting enough. I on the other hand think thedirector/writer Gerald McMorrow successfully walked the thin line ofsaying just enough, enabling the actors to fill in the gaps and createpersonas rather than cookie cut-outs. The characters were memorable andreal, responding to slightly surreal situations in two worlds that wereboth out of kilter with our own. The movie's alternate realities drewme in and kept me interested, and the eventual juxtaposition of bothdid so even more.

    This is a smartly made movie – with very convincing CGI for the fantasyworld combined with an almost indie sense of the intimate and human inthe alternate world closer to our own.

    Well this review is not much of a blow-by-blow synopsis, others can dothat, but if you appreciate strong acting, and an imaginative script, Idon't think you will be disappointed.

    7/10

  4. kieronstonemusic from United Kingdom
    30 Mar 2012, 9:19 pm

    I have just got back from watching Franklyn at the London FilmFestival, and let me tell you, this film is truly something special. Acleverly co-ordinated lesson in narrative structure, the plot revolvesaround 4 different people, delivered in 4 different strands of plot,one of which exists in somewhere a little futuristic called "MeanwhileCity". Each of the four are all trying to fix something in their lives.++DONT WORRY I SHALL NOT BE Writing ANY SPOILERS HERE+++ At first, mymind was drawn to the film V for Vendetta – the masked vigilante(played very well by Ryan Phillipe, holding his own in a predominantlyBritish cast) seemed to be a similar character, complete withvoice-over, telling us the troubles of Meanwhile City. But soon theother plot strands filter in and it becomes far more than aVendetta-lite imitation, with a narrative structure very similar indelivery to Magnolia, or Gomorrah. However, the director here nevermakes it confusing as to who is who, with a definite and focused scriptkeeping the four strands together very well.

    All the other stories are set in contemporary London. My favourite wasthe story with Sam Riley's character. His bride to be has left him andhe is finding ways of dealing with his grief. Elsewhere, Bernard Hillplays a man searching for his son who has (mysteriously) gone missing.The other story strand involves Eva Green as a troubled artist with apenchant for frequently attempting suicide.

    Whilst the photography and direction in the film is brilliantly vividand bold, and the cast are wonderfully believable, what really soldthis film for me was the story itself. Intriguing, exciting,thoughtful, often very moving, and most of all, constantly surprising,Franklyn is by far the most fiercely intelligent and engaging film ihave watched in a very long time. The final 10 minutes are simplyamazing and very, very clever (dont read ANYTHING about it though!)Make sure to watch Franklyn when it comes out (the LFF was a luckyearly screening, I am told it could be out in January at the cinemasnationwide). BUT WHATEVER YOU DO MAKE SURE NO ONE TELLS YOU ANYMORETHAN THE SYNOPSIS TELLS YOU! else you will not experience the joy ofwatching the story unravel and reveal itself for its truths. Thank youto all involved in creating something so utterly unique in itsexecution.

  5. Neil Welch from United Kingdom
    30 Mar 2012, 9:19 pm

    It's not fair to criticise just for the sake of it, but it's notpossible to state my criticisms without spoilering the movie big-time.So if you don't want to read spoilers, stop here.

    We have four seemingly unconnected story threads. One concerns a mancalled Preest (Ryan Phillippe) wearing a full-face hood in a dystopicalternative reality place called Meanwhile City, where he expects tocarry out an assassination. The second concerns Esser (Bernard Hill),travelling from Cambridge to London in search of his son. The thirdconcerns Emilia (Eva Green), carrying out suicide attempts as a kind ofperformance art project. The fourth involves Milo (Sam Riley), mopingaround with all sorts of personal problems following his wedding nottaking place. These threads limp slowly onwards with nothing muchhappening until the two-thirds mark at which point we finally begin tofind stuff out (spoilers start here). We discover that Preest isactually Esser's son, that he is a mentally disturbed serviceman whohas escaped from a mental hospital, killing someone as he did so, andthat Meanwhile City is nothing but a highly detailed delusion. And wediscover that Milo has had an imaginary friend Sally since childhoodwho helps him through bad times: played by Eva Green in a bad red wig,she has now put in a reappearance. Things come to a conclusion whenPreest invades Emilia's flat in order to carry out the assassination ofhis father (who is someone else in Preest's fantasy) in the restaurantacross the road. Preest shoots and wounds Milo (who has accepted thatfantasy Sally doesn't really exist) and blows himself up in Emilia'sflat. Emilia (who, of course, looks like Sally, what with Eva Greenplaying both of them) and Milo, both wounded (both physically andpsychologically, see, I got that) stumble into each other's arms, theend.

    I have no problem with movies which present narratives in fantasy andreal worlds, where the former can be explained by reference to thelatter (Wizard of Oz, A Matter of Life and Death etc.). Neither do Ihave a problem with stories where seemingly disconnected threads twinetogether by the conclusion – after all, if you track back any incidentin real life to origin points in the lives of participants, then takethose as individual starting points, you will end up with somethingwhich looks like coincidence.

    My problems came from something rather more fundamental. Number one,the four stories simply weren't very good. For much of the film I foundmyself thinking "When these threads finally make contact with eachother, the payoff had better be spectacular if it's going to justifysitting through this tedium." Well, the payoff was distressinglyinadequate.

    Number two, while I don't have any problem with coincidence per se, Ido like my coincidences to be credible. The denouement here requiredthree certifiable nutjobs (schizo soldier, suicidal art student,full-on imaginary befriender) to wind up in the same place at the sametime for no reason other than coincidence. Pull the other one, do.

    Number three, you could have removed Milo's thread completely and itwould have had no effect on the rest of the movie. That shows howcompletely inconsequential it was in terms of narrative importance.

    Heaven knows I'm not a very demanding film-goer – I'm easily pleased,and have thoroughly enjoyed movies which have come in for some heavyduty criticism. But I do like to be entertained and I don't like beingbored. This film bored me and failed to entertain me and left mefeeling distinctly unsatisfied. I got the impression that the filmthought it was a great deal cleverer than I thought it was. I encouragepotential viewers to read Will Wright's criticisms – a well-reasonedcritique from someone who knows what he's talking about.

    Bernard Hill was excellent: his character was boring. Eva Green wasexcellent: her character Emilia wasn't boring (Sally was, though). Shewas sexy and deeply worrying – she can be very scary. She was much morescary than Ryan Phillippe who left no impression on me at all. Neitherdid Sam Riley.

    Oh, and who or what is Franklyn? I know Bernard Hill queried seeing thename on some document or other (with no explanation or clarification),but did I miss it being mentioned elsewhere?

  6. sam-greer from United Kingdom
    30 Mar 2012, 9:19 pm

    The best film I have seen this year so far, its so brilliantly strangeand such a brain-teasingly satisfying film to watch.

    The film is a sci-fi thriller/drama about four characters dealing withproblems in their life, from Eva Greens character who is a suicidalartist to Sam Riley's character whose bride ran away at the altar.These characters parts of the film are set in modern day London andtheir struggles may seem uninteresting at first but once the films pacesets in their stories take on as much importance as the real maincharacter Preest. Jonathon Preest, the mysterious loner of the filmsalternate reality, Meanwhile City, is the only atheist in a citygripped by Faith, where every resident must have a religion which lendsweight to the films plot and themes.

    All the cast were very good at their parts, Phillippe does well asPreest without going into deep voiced batman territory and Eva Greenportrays her very flawed character with enough humanity to keep youinterested without becoming fed up with her characters behaviour.

    The film constantly switches between the two settings, to both dramaticeffect and to keep the film moving at a solid pace that should have youguessing at the link between all the characters and how the alternatereality of Meanwhile city ties in with them. Meanwhile City itself is astunning and darkly captivating location for the other half of the filmand provides the visual cement to the films concepts and makes for someof the most inventive design I've seen in sets and costumes for a longtime. Its a Gothic vision of skyscrapers and futuristic landscapes withinspiration from cathedrals and ancient architecture.

    Its safe to say that you shouldn't let anyone spoil the films twists orplot for you, because its twists often seem predictable before hand butupon their realisation they can be quite surprising reveals.

    For those familiar with films such as Donnie Darko, the ideas drivingthe film may seem to be done and dusted but Franklyn's fresh approachto the concepts as well as its stunning execution make this film worthyof anyone looking to engage their thoughts in some very interestingconcepts regarding, reality and perception. Go out and watch this film,it's conclusion will linger with you for days after wards.

  7. Jamie Ward from United Kingdom
    30 Mar 2012, 9:19 pm

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

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

    For the majority of the feature, we are treated to four storiesrevolving around four separate characters split over what appears to betwo very different timelines of alternate dimensions (this is, ofcourse, merely a subjective speculation on the part of myself, as thetruth behind the events of the film are never truly explained—and fairenough, I suppose). Each of the characters have their own littlequirks; Emilia (Eva Green) is an extremist artist driven to video-tapeserial suicide attempts made by herself; Milo (Sam Riley), a romanticwho has recently been left at the alter; a masked vigilante namedPreest (Ryan Phillippe) who occupies the alternate reality within acity named "Meanwhile City" ruled by religion and dogmatic oppression;and a father in search of his son gone missing after a traumatic eventinvolving his sister's death.

    At first, all the characters within Franklyn's two worlds seem distinctfrom each other, and without and form of link—so much so that much ofthe feature's initial hour is slow moving and irksomely disjointed fromany sort of clear focus or direction to the first time viewer. Yet asthe plot unravels, and metaphysical realities are explored with death,imaginary friends and delusional beliefs briefly analysed, the seedsthat are planted during the initial acts begin to blossom. It isdisappointing then that by the time McMorrow pulls the proverbial rugon us, we don't really care anymore. Confined also by the limitationsof such vague narrative and an ending that brings everything togetherin a poetic but fruitless manner, Franklyn eventually crumbles underits own weight and pretension. It's a movie that tries too hard to belarger 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 Iactually did—it's brave, interesting and makes some intriguingstatements on the nature of reality and our perceptions of suchmanifestations to ourselves as human beings; but at the end of the dayI couldn't bring myself to be convinced or won over by theimplementation of such ideas. For sure, there was potential here withinthe bare-bones skeleton of McMorrow's premise and themes—but burdenedwith obstructive restrictions both in a narrative sense and aproduction sense, Franklyn simply never comes off the page like itshould, and the result is lukewarm in every regard; sporadicallyintriguing, but overly flawed—I have to wonder why this made the bigscreen at all; I got the feeling that it could have made an even bettermini-series for TV.

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

  8. londonviewer from London, UK
    30 Mar 2012, 9:19 pm

    Reading a synopsis of the film, I feared that it would be full onsci-fi … but thankfully there were two strands – one set incontemporary London, and another of the more fantasy version …

    It really is the sort of film where knowing too much about the plotbefore seeing it, will spoil. I would say that if you like films whereall 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 acouple of the characters were up to !

    Eva Green has the largest role, and is mostly good, but at times sheseems 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 directorexplained that some of the sci-fi imagery was based on the spires ofCambridge. Ryan Phillippe said that he did indeed act in all the maskedshots, even those where he fights the "clerics" – having studiedmartial arts since he was eight !

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

  9. matt-1147 from United Kingdom
    30 Mar 2012, 9:19 pm

    Was a bit wary of this one – had read comments about it beingpretentious and a little too clever for it's own good.

    No need to worry on either front.

    Thought it was excellent – beautifully shot, fabulous performances byall involved and the story comes together wonderfully. The parallelworld of Meanwhile City is simply stunning.

    Think you have to be able to go with it for the first half – and allowit time to start unfolding. This may frustrate some, but it definitelyhas a sense of balance and shows enough to keep your attention withoutover-elaborating unnecessary plot strands.

    Really hope it does well… it's shows bigger budget, mainstreammultiplex fodder how it could, and should, be done.

  10. kosmasp
    30 Mar 2012, 9:19 pm

    This movie really is difficult. Not only to describe (it is far toocomplex for it's own good/commercial success), but also to watch andfollow the plot. While there have been other movies who played with thetime 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 explainthemselves 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 moviedoes not give you this luxury. You have to stay focused to get it. Ofcourse the main plot and the big details will be easy to grab. Butagain, only if you let yourself into the movie. But this movie allowsyou to watch it a few times and catch nuances, small things, you mightnot have seen/understood, the previous time(s) you watched the movie. Acomplex, but rewarding viewing experience then

Leave a Reply

CAPTCHA : *