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Posted on Monday, September 7th, 2009 21:36:54 GMT by: Ben Austwick
Posted under: movie review horror united kingdom
Year: 2009
Directors: Philip Ridley
Writers: Philip Ridley
IMDB: link
Trailer: N/A
Review by: Ben Austwick
Rating: 4 out of 10
While commendable, ambition is rarely enough to carry a movie, and trying to do too much can ruin one quite easily. Restraint, directness, brevity and attention to detail are in many ways a much more effective way to transfer an idea to the big screen, but Heartless is a film that manages none. Chasing itself round in circles, lacking even the small amount of believability needed for a fantasy piece and getting bogged down in its own directionless story, ambition is one thing Heartless isn't lacking, but it seems to be to the detriment of everything else.
Jim Sturgess plays Jamie Morgan in an awful, snivelling performance that's the first of many problems in this sprawling, credulity-stretching film. Wet-eyed, stooping and looking as if he's constantly on the verge of bursting into tears, perplexingly Jamie is seen as a stand-up guy and is approached by a couple of friendly strangers integral to the plot in the film's opening scenes, whereas in real life they'd run a mile. Perhaps it's the artfully scruffy, trendy look he sports that attracts them, which along with his career as a professional photographer doesn't quite fit the council flat-dwelling, East End everyman character he's meant to be. The rest of his family fit the East End archetype well, but Jamie just looks like, well, a drama student. This is minor and perhaps something a lot of viewers will happily ignore, but it's symptomatic of a lack of attention to detail that at times crosses into blindness.
Heartless's opening ideas, despite playing to the hysterical fear of a feral underclass perpetrated by the British tabloid press, are actually quite effective. In the dark, claustrophobic streets of Shoreditch and Bethnal Green in East London, youths in hoodies and demonic masks are torching innocent passers-by by throwing petrol bombs at them; but on seeing them close up, Jamie knows the truth - they actually are demons, sent to bring chaos to the city. The doom-laden millennial feel of this opening section is set nicely against the grimy, urban backdrop, which while a little clichéd (despite pockets of poverty, gentrified Shoreditch is very much the artistic heart of London, with all the photo shoots and art school short films this entails) is still an effective location.
It's when Jamie meets the leather-trousered king of the demons that the film really begins to go downhill. There is nothing wrong with bringing fantasy into this type of gritty, urban setting, but the clichéd Gothic styling of Heartless is not the way to do it, removing it further from present-day East London reality and buying into an existing, dated vision that is all about image and playing to a particular audience, rather than trying to do anything new or explore the ideas thrown up by the film's premise. To be fair there are nods to modern day London in multicultural incidental characters, but none are developed and only serve to cloud the story. The turgid rock soundtrack, performed by the director's own band with vocals by himself, is an awful vanity project that shouldn't have got anywhere near the film, and reinforces the impression of a self-important director blind to his own failings.
The story rapidly gets lost in its own meanderings, each new part linking to the part before but not necessarily the part before that, but the general idea is that Jamie is set a task by the demon king that will turn his problems around and give him the happy life that has always been so elusive. The gruesome task taps into the established mythos of Shoreditch, the half-fact, half-fiction of eighteenth-century occult church architect Nicholas Hawksmoor and the Jack the Ripper murders of the nineteenth-century, explored by writers such as Iain Sinclair, Peter Ackroyd and Alan Moore; but these solidly intriguing fantasies are eschewed by Philip Ridley in favour of his own ideas, which in comparison are woefully lacking.
A muddy ending ties up the ends but doesn't forgive the convoluted meanderings of what has come before, and is finished off in a poor cop-out of a finale that really should have tried to add some solidity to the pretentious, self-important nothingness of the film that preceded it. You're left with a film that covers a hell of a lot of ground but manages to say absolutely nothing, all gloss and no substance, fantasy as cliché that does little but tap into the right imagery. What's worrying is how popular it seemed with the Frightfest crowd, and the thought that Philip Ridley may feel vindicated in his vision rather than go and have a big, long think about what he's done.
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