The Firm (2009) Poster

The Firm (2009)

  • Rate: 5.5/10 total 1,860 votes 
  • Genre: Drama
  • Release Date: 18 September 2009 (Ireland)
  • Runtime: 90 min
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The Firm (2009)


The Firm 2009tt1313113.jpg poster

  • IMDb page: The Firm (2009)
  • Rate: 5.5/10 total 1,860 votes 
  • Genre: Drama
  • Release Date: 18 September 2009 (Ireland)
  • Runtime: 90 min
  • Filming Location: Ferrier Estate, Kidbrooke, London, England, UK
  • Gross: £310,060(UK)(20 September 2009)
  • Director: Nick Love
  • Stars: Paul Anderson, Calum MacNab and Daniel Mays
  • Original Music By: Laura Rossi   
  • Soundtrack: A Town Called Malice
  • Plot Keyword: Football | Violence | 1980s | Bullying | Based On Film

Writing Credits By:

    (in alphabetical order)

  • Al Ashton  original screenplay
  • Nick Love  adaptation

Known Trivia

    Goofs: Anachronisms: The main characters Bex and Dom are seen sat inside of a white 'scaffolding' van and visibly seen on the van's interior by the passenger seat belt is a modern L.E.D touch light gadget. This typical modern technology was not developed during the decade in which the film is set.

    Plot: Football hooligans organize themselves into firms that represent their favorite team. Full summary » |  »

    Story: Set in the 1980s, Dom is a teenager who finds himself drawn into the charismatic world of football 'casuals,influenced by the firm's top boy, Bex. Accepted by the gang for his fast mouth and sense of humor, Dom soon becomes one the boys. But as Bex and his gang clash with rival firms across the country and the violence spirals out of control, Dom realizes he wants out – until he learns it's not that easy to simply walk away.Written by Anonymous  

    FullCast & Crew

    Produced By:

    • Anne Barford known as associate producer
    • Caroline Levy known as line producer
    • Allan Niblo known as producer
    • Rupert Preston known as executive producer
    • James Richardson known as producer
    • Nigel Williams known as executive producer

    FullCast & Crew:

    • Paul Anderson known as Bex
    • Calum MacNab known as Dom
    • Daniel Mays known as Yeti
    • Doug Allen known as Trigger
    • Joe Jackson known as Jay
    • Richie Campbell known as Snowy
    • James Kelly known as Beef
    • Jaf Ibrahim known as Usef
    • Tommy Nash known as Nunk
    • Eddie Webber known as Bob
    • Camille Coduri known as Shel
    • Billy Seymour known as Terry
    • Joanne Matthews known as Suzy
    • Ebony Gilbert known as Justine
    • Michael Davis known as Johnny
    • Joe Pizarro known as Jamie
    • Suzanna Day known as Female Punter
    • Jack Greenhough known as Sammy
    • Stephen Greenhough known as Sammy
    • Paddy Navin known as Bex's Mummy
    • Candis Nergaard known as Older Girl
    • Ben Robb known as Pacos
    • Frank Scantori known as Ticket Inspector
    • Andrew St. John known as Policeman
    • Toby W. Davies known as Male Punter
    • Neil Primett known as Shop Manager
    • Kevin Barlty known as Shop Assistant
    • Gareth Pad known as Shop Assistant
    • Daniel Baker known as Ticket Inspector / Passer By
    • Anne Barford known as Woman P.C.
    • Ben Shockley known as Plain Clothes Detective
    • Nader Boulila known as Terry's mate / B boy / breakdancer
    • Graeme Ellis known as Terry's mate / B boy / breakdancer
    • Richard Ellis known as Terry's mate / B boy / breakdancer
    • Kayne Dayes known as Terry's mate
    • Terry Gorman known as Terry's mate
    • Garf Carter known as Doorman
    • Paul Goldsmith known as Doorman
    • Jason Climey known as Footballer
    • Tom Daines known as Footballer
    • Dan James known as Footballer
    • Adam Reid known as Footballer
    • Terry Otten known as Footballer
    • Trevor Pickles known as Footballer
    • Craig Sibia known as Footballer
    • Victoria Chapple known as Barmaid
    • Bonnie Foley known as Barmaid
    • India Gibbs known as Barmaid
    • Sarah Shepherd known as Barmaid
    • Trebor Kerr known as Bar scene
    • Christopher Brown known as Millwall Member (uncredited)
    • Edward Cannell known as Shopper (uncredited)
    • James Helder known as Icf member (uncredited)
    • Andre Hopley known as ICF Hooligan (uncredited)
    • Alison Scott known as Clubber (uncredited)
    • Brad Wall known as ICF Hooligan (uncredited)
    • Alexander Wussah known as Clubber (uncredited)



    Supporting Department

    Makeup Department:
    • Mia Botcher known as make-up trainee
    • Jemma Carballo known as additional makeup artist
    • Bernice Dodd known as additional makeup artist
    • Annette Field known as key hair stylist
    • Charlie Hounslow known as makeup artist
    • Vicki Lang known as key hair stylist
    • Rosie Leland known as additional makeup artist
    • Tony Lilley known as additional makeup artist
    • Kristyan Mallett known as prosthetics makeup designer
    • Kristie Matthiae known as additional makeup artist
    • Leslie McIntyre known as additional makeup artist
    • Angie Mudge known as makeup designer (hair designer)
    • Maarit Niemelä known as additional makeup artist
    • Sarah Nuth known as additional makeup artist
    • Claire Pawsey known as additional makeup artist
    • Abbie Pryce known as additional makeup artist
    • Dora Roberti known as additional makeup artist
    • Vale known as additional makeup artist

    Art Department:

    • Kriss Bell known as art department runner
    • Geidrius Birmantis known as daily carpenter
    • Joe Borowski known as stand-by props
    • Julia Castle known as art department coordinator
    • Alan Chesters known as daily carpenter
    • Leigh Chesters known as daily carpenter
    • Christopher Colman known as art department assistant
    • Jo Hawthorne known as daily carpenter
    • Arvydas Kubilius known as daily carpenter
    • Emily Levy known as art department trainee
    • Amy Merry known as assistant art director
    • Deivdas Mikalauskas known as daily painter
    • Arunas Paskevicus known as daily carpenter
    • Joe Rappaport known as stand-by props
    • Simon Robilliard known as daily carpenter
    • Walberth Santos known as daily painter
    • Tomas Tamulionis known as daily carpenter
    • Joe Weston known as daily painter
    • Joe Withers known as prop master




    Production Companies:

    • Vertigo Films

    Other Companies:

    • Aimimage / Ice Film  cameras supplied by
    • Audiolink Radio Communications  walkie talkies
    • Eastside Communications  publicity: Germany
    • Goldcrest Post Production London  post-production (sound)
    • PS-PostScript  post-production script
    • Post Republic, The  post-production facilities
    • Technicolor  release printing


    • Warner Bros. (2010) (UK) (theatrical)
    • Ascot Elite Home Entertainment (2010) (Germany) (DVD)
    • Cinemax (2011) (Hungary) (TV)
    • Front Row Filmed Entertainment (2009) (United Arab Emirates) (all media) (Middle East)
    • Icon Film Distribution (2011) (Australia) (DVD)
    • Sandrew Metronome Distribution (2010) (Finland) (DVD)



    Other Stuff

    Visual Effects by:
    • Britt Dunse known as title designer
    • Florian Obrecht known as visual effects
    • Andreas Schellenberg known as visual effects supervisor

    Release Date:

    • Ireland 18 September 2009
    • UK 18 September 2009
    • USA November 2009 (American Film Market)
    • Germany 12 July 2010 (DVD premiere)
    • Sweden 4 August 2010 (DVD premiere)
    • Finland 27 October 2010 (DVD premiere)
    • Hungary 9 October 2011 (TV premiere)



    Filmography links and data courtesy of The Internet Movie Database

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


    1. rapzillar from here, there, everywhere
      30 Mar 2012, 10:38 am

      If you have seen the original version of this, then the chances are youwill really want to see this. I have seen the original, so when i sawthis first advertised, i almost wet myself with anticipation. Sadly, ihave to report that I'm quite disappointed. Paul Anderson does a prettygood job as Bex Bissle, however the performance can only be describedas lacklustre when compared to the tower of menace and intensity thatGary Oldmans original incarnation produced.

      Now. If you are going to see this in the hope that its another FootballFactory/Green Street/Rise Of The Footsoldier orgy of football andpeople bashing the crap out of each other, you will be sadlydisappointed.

      This film does however contain Elise tracksuits, Adidas trainers, somebad haircuts and a decent soundtrack. Oh and there is a lot ofprofanities if you like that sort of thing in a movie. thinking aboutit this movie doesn't have a great deal else. There isn't much talkabout the beautiful game or the teams the firms themselves support,there isn't much in the way of beatings, and if I'm honest, not a greatdeal of violence. Im actually very surprised that this merits an 18certificate.

      However, the film is well acted, does feel quite indie and veryBritish, though the trailer for that new Michael Caine movie was mostlikely the most excited i got in the whole 2 hours.

      Yes see this movie if your interested in the subject matter, but if youhaven't seen the original and want to watch a proper football hooliganmovie, check that out instead.

    2. johnmjg from United Kingdom
      30 Mar 2012, 10:38 am

      Nick Love's films are not about football violence, they are about men.They ask the question, how do boys become men in a world where the menaround them are dysfunctional, often abused and abusive, or in the caseof our public figures, corrupt? His films often use the back drop ofthe football tribe (gang), where it is understood, you can at once loseyourself and find an instant identity, but at what cost? The men inNick Loves films are always flawed & struggling to find their place ina world that regards their attitude and energies as irrelevant, and asa result they are drawn, by the perceived excitement and glamour, intothe bosom of the street gang.

      At the core of many of our social ills are dysfunctional men, failingthemselves & us on a daily basis. This self hatred, often intensifiedby drink or drugs, is channelled back at society in many forms, oftenviolent. Nick Love's films open up this world of male adversarialculture and expose it to the sun light. With an uncompromising swaggerand flare, he addresses often distasteful issues that are very present,to a greater or lesser degree, all around us and many young men have toface on a daily basis. In fact one of the reasons Nick Loves filmsmanage to gain finance, is that he is always aware of his audience andas a result has built a loyal following that feel understood by aBritish film maker.

      It is lazy not to understand the themes Nick Love is trying to explore,and too easy to join the band wagon of criticism, which in many waysmimics the criticism boys & men face through out their life, as theirenergies are misunderstood. Far better to welcome the maturing of atalent, and to support and celebrate a British film maker, who is stillmanaging to use the canvas of film to explore themes that areuniversal, and as relevant today as they were in the 1980s.

      Nick Love however, is not Alan Clarke and his subjects, althoughsimilar, are very different. Alan Clarke's main thesis was politicaland his original film was written in a time that saw the working classbeing remodelled along Thatcherite principles. Clarke & Hunterperceived the football 'thugs' as an extension of the selfish yuppie,that became detached from the traditional community and was looking fora home and found football. While it cannot be denied that the politicalpressures and unrest of the Thatcher period were profound, and gaverise to a number of dispossessed subcultures, Nick Love's film operatesin a world of the personal, not political. His film feels written fromthe inside out, not the other way round. Gone are the endless scenesdebating the rights and wrongs of football violence, which felt heavywith the hand of the filmmaker, and in comes a confident understandingof the world of the story. Free from this pressure to explain the termsof the genre, Love's film becomes about belonging, about the excitementand rituals of the tribe. Whether thematically this is better or worseis one of personal preference, suffice to say, it would have beendeeply misguided for Love to have attempted to voice Clarkes themes,which although potent, feel redundant from this point in history.

      One could argue that Clarke & Hunters original film failed to fullyunderstand the subculture they used as their political vehicle. In oneof the final scenes of the original 'Firm', a minor characters says toa documentary crew,''..its not about the football, we would organizearound darts if we could'' .. this has been shown through study to beincorrect. No other sport has thrown up such a subculture as 'FootballHooligans'. It is tribal and deeply rooted, as in the case of Milwall &West Ham, in years and years of territorial and geographical rivalry.Football violence existed long before Clarke or Love, what happened inthe 1980s, is it became highly organized, and as Love correctlyidentifies in his film, it became 'fashionable'. Nick Love's 'The Firm'understands this and in many ways is a truer representation of thisphenomenon.

      There are a handful of British film makers working today, that are ableto explore issues which go to the heart of our culture, within a globalmultiplex environment . Like it or loath it, Nick Love reaches out andprovides a voice to a disaffected , often working class audience, anddoes this against enormous odds, not least, the middle class criticalestablishment.

    3. davideo-2 from United Kingdom
      30 Mar 2012, 10:38 am

      STAR RATING: ***** Saturday Night **** Friday Night *** Friday Morning** Sunday Night * Monday Morning

      A re-make of the 1988 TV play with Paul Anderson taking over GaryOldman's original role as Bex, the property agent whose buzz in life isbeing the head boy of The West Ham Firm. Young upstart Dom (CalumMcNab) and his friend try to challenge his authority in a nightclub,but are soon put on the spot and made to issue a grovelling apology.But Bex takes a shine to Dom and invites him to join his army…but asevents go on, it becomes more and more clear how Bex's drive for his'buzz' has pushed him over the edge.

      I'd been expecting an adaptation of The Sweeney to be Nick Love's nextfilmic venture, but instead this re-make of Alan Clarke's original TVfilm has arrived. It's still set in the 80s but nostalgia for that erais the main decent thing you take away from this film.

      There's no drive to this version of The Firm, no 'oompth' or real wowfactor. It may be that the 'football hooligan' movie has been done todeath and everything's a bit too predictable, but the tracksuits themain characters wear are the most colourful thing about the film. It'slike a joyless version of The Football Factory, with nowhere near asmuch energy or real raw power to it. The clashes between the rivalfirms, separated as best as they can by the police on patrol, have arealistic air of disorder and lack of control to them but there's noreally juicy bust ups to any of it. The film sort of just ambles alongwith no real narrative flow or direction, and with a distinct lack offun or excitement to the proceedings.

      Performances wise, rising star Daniel Mays feels wasted as Bex's swornenemy Yeti, whilst as the man himself Anderson gives no real power tothe role. He must have known he'd have to pull off a miracle to deliveranything even close to Oldman's raw intensity, but even if you don'texpect too much you feel short changed.

      The one thing it can boast is a reliably decent 80s soundtrack. But youget the feeling Love might be starting to take himself a bit tooseriously and could end up alienating the fan boys who first got himnoticed. **

    4. Ali_Catterall from London, England
      30 Mar 2012, 10:38 am

      Here's a Nick Love joke: two teenage boys are leaning against a wall.One says to the other, "I should stick a Tampax in you." "Why?" "Cosyou're a c***." If you enjoyed that, here's another joke for you: NickLove's The Firm – a remake of the late Alan Clarke's final film, theonly good drama about British football hooliganism ever produced. Justcheck out Green Street, I.D. or Love's own The Football Factory ifyou're unsure about that.

      In Gary Oldman's Clive 'Bex' Bissell, Clarke's 1988 original featuresone of the all-time great screen villains: an upwardly mobileLoadsamoney with a sociology A-level and a Stanley knife. Reaping thebenefits of the Lawson boom, this sociopathic estate agent and familyman is seen to be a breed apart from the stereotyped bovver boy of theprevious decade But The Firm isn't only a superb character study. Aboveall, it's a damning indictment of grass roots Thatcherism turnedbrutal, tribal and nationalistic. Bex's baseball bat-wielding InterCity Firm is just the flip side of an altogether more ruthless anddemocratically elected 'firm'. For Bex, Trigger and Snowy readThatcher, Tebbit and Hesseltine.

      So, given the class, calibre and integrity of Clarke's output – andgiven Nick Love's – we haven't felt such a sinking feeling about aremake since Neil LaBute released The Wicker Man Mark II. A reactionthe director himself anticipates: "I know there is an element ofcynical people who are taking issue with the fact I've remade TheFirm." It's a fair cop, Nick. "But I'm hoping there's enough of adifferent angle and that we've taken this into different territory."You mean a territory that isn't populated by geezers, gangsters and astring of 1980s club hits? Ah.

      Love's version backdates the action to 1984, a few years earlier thanthe original. So out go the quiffs and stripy yuppie shirts, and income wedge-cuts and sportswear: a day-glo riot of Fila tracksuits,Adidas trainers, Pringle jumpers and Tacchini tops. The kind of clobber17-year-old Dominic (Calum McNab) eagerly sports in his infatuatedattempts to please West Ham firm leader Bex (Paul Anderson). Thehapless lad is soon pitched into the violent world of Saturday turfwars with old rivals Millwall, discovering the hard way that what mightlook exciting on telly is acutely painful in real life.

      Love has dutifully re-staged a few key scenes from the original. Therest is fat; less a remake of Alan Clarke even, than a Football Factoryrematch. Certainly, the entire point of Clarke's drama is anathema tothe director. "I think if you get bogged down in the politics behind itall, it would play less as entertainment," he says. Instead, to pleasemultiplex audiences, "which is what I'm aiming this at, you've got tohave big fight scenes and lots of loud music".

      Thus, deliberately shorn of any socio-political context (although theWest Ham-Millwall kick-up of August 2009 has been an unfortunatelywell-timed gift, promotion-wise), this shallow and pointless remakesettles for rehashing Love's single idea, familiar from his previousthree pictures, in which a young, weedy, working-class guy gets suckedinto a violently glamorous world led by a charismatic father figure whoeventually turns round and bites him, before our hero escapes with afew scrapes and bruises. Whatever demons the former middle-class rudeboy is trying to exorcise, he clearly hasn't achieved catharsis yet.This is less The Firm than 'The Formula'.

      In between, there's the usual wooden performances, self-consciouslyladdish dialogue, and a certain colloquial diarrhea; having agarishly-dressed casual described as looking like "a f****** fruitpastille" is funny the first time, but to subsequently hear everypermutation of it ("like a liquorice all-sort"; "like a post box";"like John McEnroe") gets really tedious, really quickly.

      The film would also like to be patted on the back for its attention to1980s detail, as if including Kool And The Gang songs and old 'TV AM'clips, or peopling gritty estates that have looked exactly the same forthe past 25 years with a bunch of Diadora-wearing goons makes abrilliantly convincing time capsule on its own. Love's box-tickingperiod films are the equivalent of those retro CD box sets ('Now That'sWhat I Call Exxon Valdez'), flogged in their millions to nostalgicforty somethings who've apparently forgotten just how rancid the 1980sactually were. The music may be authentic, and the typeface spot-on,but the atmosphere just isn't there.

      Given its director's claims to abhor violence, The Firm also broadcastssome extremely mixed messages: over some soppy piano chords, we'reinvited to feel sorry for Bex and Co after they and their motors take abattering. Not because they're pathetic. But because they lost a fight.Still, to his credit, Love's pretty good at choreographing simmeringhostility, those nervy moments before everything kicks off. And whilehe's no Oldman, Paul Anderson is decent enough as the ferrety Bex,albeit with a severely reduced range. But Daniel Mays, so good inShifty, is badly miscast as rival firm leader Yeti. Sporting albinolocks and over-sized shades, Phil Davis was genuinely unsettling in theoriginal. But with his puppy-eyes and sleepy demeanor, theBurberry-clad Mays just bears a striking and distinctly non-threateningresemblance to one Anthony Aloysius Hancock of 23 Railway Cuttings,East Cheam.

      "I'm not making films for film critics," says Love. "I'm not trying tobe an art-house filmmaker… I'm making films for the f****** chavgeneration." Which, although unbelievably patronising, is absolutelyfair enough. Not everybody wants to be Antonioni, and thank God forthat. "But as a filmmaker," he continues, "I need to startmetamorphosis. I can't keep making f****** chav generation films." Onthis evidence, Love hasn't cracked the cocoon yet. The most positivething you can say about Nick Love's The Firm is that it isn't NickLove's Outlaw.

    5. Bitoque from Edinburgh, Scotland
      30 Mar 2012, 10:38 am

      first of all, the original firm is impossible to top, to start with -so why remake it in the first place?

      this film is predictable, as is the message, but its also boring! igave it 3 stars for the music, the cool clothes and that danny dwyerwasn't in this one (probably turned it down though)! nick love shouldhave just tried and make a documentary about firms in the 80s, insteadof remaking the same film over and over again. in my opinion, the onlyreason why he made this film is so that he could keep all the denim inthe end. they should have made a film about the German world cup, whenlots of frustrated wannabee hooligans started beating up each otherwhen there was just no one to fight with…I'd like to see that!

      please no more films about guy-love by nick love! thanks

    6. timharries from Sweden
      30 Mar 2012, 10:38 am

      Like a lot of people, when I first heard the news that Nick Love was"updating" the original version of The Firm I anticipated the worst. Myobjection lay not so much in the fact it was a remake of a classicfilm, but more as to why we needed yet another film centering onfootball hooliganism.

      The argument that such material merely glamorizes the violence itdepicts, (appealing as it does to a section of youth that also worshipthe fashion and lingo of the genre) is without question. The worstexample of which (and still prominent in most bargain bins of HMV upand down the land) would be the truly execrable "Green Street". A filmso inept in its plotting, acting and overall plausibility that you'd beforgiven for thinking the whole thing had been stitched together by agang of football thugs themselves.

      Contrary to what director Lexi Alexander may think, this was a filmthat at every opportunity served to heighten the voyeuristic delight ofits male, teenage demographic. Self conscious fight sequences shotthrough with booming dance interludes, whilst a preoccupation with allthings bloody gave way to an orgiastic ending which was more like ascene from Braveheart than a realistic portrayal of football mobviolence.

      Which brings us back to Love and The Firm. What immediately strikeshere, as it does in "Goodnight Charlie Bright", and "The FootballFactory" is the skill and accuracy with which Love conveys his subjectmatter.

      The film is also a far warmer and optimistic piece than anything Lovehas made so far. Central character "Dominic" shares an all toobelievable rapport with his father, forever wrangling money from him,whilst both parents playfully tease him throughout the film – tryingtheir best not to cramp his style when a friend catches Dom at hislocal sports store.

      It is this held focus on the family, combined with the way in whichDominic is positioned when the violence first unfolds (felled by asingle punch and then little more than a terrified witness for theremainder of the film)that make for a clear mission statement on thebehalf of the director.

      The scenes of violence here must also be commended for their reserveand authenticity. Thanks to Love's impeccable eye for the 1980s, thesense of watching a documentary on football violence runs close attimes, with the camera skittering about to capture snatches of fightthat never quite take off as quite accurately, the police intervene -with their standard uniform and makeshift formation, capturing them influx before the later arrival of CCTV and full riot gear.

      This lends real tension to these scenes. Yet Love has no agenda hereother than to show how quickly such altercations are broken up and howthey often amount to little more than benign screaming matches. Eventhe more "laddish" Football Factory tended not to dwell on the fullscale chaos between its football gangs and Love has clearly kept thisin mind with The Firm.

      It must be said however, that the film hardly breaks new territory.(within what is already a very limited genre) Though there is noquestion that the look and feel of the era has been capturedbrilliantly and that as top boy "Bex" Paul Anderson is suitablycharged, with its rather obvious ending – an eye for an eye simplymeaning someone will end up losing their head, it is at least arefreshing twist to see Love's championing of the values of friends andfamily over the raging poison of the hooligans themselves.

    7. bobhartshorn from United Kingdom
      30 Mar 2012, 10:38 am

      The late Alan Clarke's original 1988 version of The Firm was anallegory on the Thatcher regime dealing with the rise of footballviolence in the suburbs. The story concerned the activities of the ICC(Inner City Crew), a gang of West Ham supporters who engaged in pitchedbattles with their rival clubs' hooligan contingent.

      I missed it the first time around and only caught up with it veryrecently on DVD and found it to be a dated, campy, theatrical affairthat seemed more concerned with presenting a political parallel to theIron Lady's tyranny than properly addressing that era's (equallytroubling) violence on the terraces. At the very least though, it didhave a point and a purpose, both of which must have run for the hillswhen the 'genius' that is Nick Love (the non-thinking man's GuyRitchie) came a-knocking at this particular property's door for aNoughties 'reimagining'.

      With an impressive lack of insight/understanding for the sourcematerial, Mockney-boy Love launches his audience head first into anineptly staged 1984 set tale, of a young wannabe soccer lout, Dom(Calum McNab), finding himself befriended and welcomed into the ICC'sranks by top dog, Bex (Paul Anderson), only to get on his bad side whenhe develops cold feet and tries to make a run for it.

      Love club-footedly hops from one ill devised scene to the next,assaulting the senses with his trademark tin-eared dialogue and vacuouspop-promo visuals, making it increasingly obvious that he has no moreinterest in the psychological make-up of working class hoodlums than hedoes in trying to hone credible performances from his largely woodencast.

      In fact, the whole enterprise has amateur hour written all over it: toomuch of the story takes place in too few locations, instantly betrayingit's meagre budget and giving the proceedings a fake, plastic sheen. Askilled and talented director would have pulled out all the stops topaper over the cracks and create the illusion of a more costlyproduction, but Love's lack of flair and imagination insures he doesneither.

      This woeful handling of resources ultimately undoes the fight scenestoo. Anyone who was around during that period (like I was), willclearly remember that these gang battles took place inside the grounds,and not on the streets as they're depicted here. Were you aiming for arevisionist angle Mr Love?

      Worst of all though, is the dispiriting, vulgar display of designersportswear on show. Instead of using this cosmetic tick as anincidental background detail to enhance the story's sense of time andplace, it's pushed crassly to the front line for a crude catwalkassembly of primary coloured tracksuits and 'smart casual' togs,resulting in an overstuffed canvas of Logo-porn to lather up the armyof Ad*das fetishists this shameless parade is no doubt squarely aimedat.

      And if none of that has 'whetted' your appetite, then all the above isaccompanied by a putrid, pumping 80's disco-pap soundtrack to give yourears a kicking as well as your eyes. 'Enjoy'.

    8. andrewweb from Scotland
      30 Mar 2012, 10:38 am

      It has no soul, no heart. It's empty, absolutely one of the worst filmsI've ever seen.

      You can't help but compare it against the original, but even taken inisolation this stinks to high heaven.

      Several scenes stand out for a complete lack of any actual emotion, andfor a subject that's suppose to be about intensity, just that rawemotion, that's really quite staggering !! How any film with such apassionate subject could somehow manage to completely avoid invokingany passion – I just can't describe. It's like it was made as some sortof joke, perhaps ?

      The fight scenes are a ham-fisted joke, the confrontation between Snowyand Bex actually had me laughing it was so awful.

      "Put your hands together for….. Stanley" ?

      It's the nearest to a round of applause this tripe will ever see.

      Absolutely awful – all involved should be thoroughly ashamed.

      If you're a film student perhaps, it's worth a look. File under "Hownot to do it".

    9. FlashCallahan from United Kingdom
      30 Mar 2012, 10:38 am

      Dom is a teenager who finds himself drawn into the charismatic world offootball 'casuals,influenced by the firm's top boy, Bex.

      Accepted by the gang for his fast mouth and sense of humour, Dom soonbecomes one the boys.

      But as Bex and his gang clash with rival firms across the country andthe violence spirals out of control, Dom realises he wants out – untilhe learns it's not that easy to simply walk away.

      I do like Nick Love. Sometimes his movies and him are subliminallyreferred as the British Uwe Boll. This isn't the case. His films are anacquired taste.

      It's a shame then that he has gone slightly downhill remaking theclassic BBc drama of the eighties. That was a gritty film, notglamorising the violence, and Focused on Bex's family life strugglingwith his obsession of football. And it was sometimes very funny withit's witty script.

      Even though this film is entertaining, they have made a huge mistake bynot focusing on Bex as the main character, they have decided to go downthe route of every football hooligan flick, and focus on a newbie.

      And it just doesn't have the same impact. The Football Factory/GreenStreet/Awaydays have already covered this, so why did Love decide totake a step back.

      Other than that though the film is quite solid, and a lot of thecharacters are amusing, and if you are a fan of the eighties, you willfeel a little bit of nostalgia hearing music and seeing TV shows andthe fashion.

      So it's not all bad, but sadly a little disappointing, especially thescenes that are taken right from the original.

      If you haven't seen the Oldman version, see this first, and see a trueclassic.

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