This is England: Case Study

‘This is England’ (2006) by Shane Meadows: Case study

Certification and Reasoning

This Is England is certified as an 18 due to the content of rude and vulgar language, in particular the word ‘cunt’ which is the strongest word in the English vocabulary, and also the re-occurring themes of strong racist abuse, such as the scene in which Shaun repeatedly calls a Pakistani shop owner a ‘paki’ and then the group pull a switchblade on him. There are also scenes of sexual and violent content, for example the scene in which a 16 year old girl asks Shaun whether he would like to ‘suck her tits’. Shaun Meadows was very upset with this certification as he felt that the most important group to watch the film would be teenagers between the ages of 12-18, however with the certification of 18 this group was clearly ineligible.

Locations

The film was shot in three main locations. These were:

-Cleethorpes, North Lincolnshire, England, UK (ending credits)

-Nottingham, Nottinghamshire, England, UK

-RAF Newton, Nottingham, Nottinghamshire, England, UK (abandoned houses)

Company Credits

The production companies to the film were:

-Big Arty Productions

-EM Media

-Film4

-Optimum Releasing

-Screen Yorkshire

-UK Film Council

-Warp Films

All of these companies have produced other famous British films and/ or other films by Shane Meadows. Big Arty Productions have in particularly worked closely with Meadows, producing seven of his ten films (Where’s The Money, Ronnie? – 1996, Small Time – 1996, A Room for Romeo Brass -1999, Once Upon a Time in the Midlands – 2002, Dead Man’s Shoes – 2004, Northern Soul – 2004 and This Is England – 2006)

EM Media have also worked with Meadows on two other occasions excluding This Is England (Once Upon a Time in the Midlands – 2002, Dead Man’s Shoes – 2004) while Film4 and Warp Films have both worked with Meadows on one previous occasion (Dead Man’s Shoes – 2004). UK Film Council on the other hand have not worked with Meadows on any other occasion, however, like Warp Films and Film4, they have been part of countless famous British films such as:

-Bride and Prejudice (2004)

-Valiant (2005)

-The Constant Gardener (2005)

-Severance (2006)

-The Last King of Scotland (2006)

-Venus (2006)

-Notes on a Scandal (2006)

-Brick Lane (2007)

Meanwhile Film4 also have an impressive list of successful British films:

-The Last King of Scotland (2006)

-Venus (2006)

-Brick Lane (2007)

-In Bruges (2008)

-Happy-Go-Lucky (2008)

Distribution

These were the distributors of the film:

-IFC Films (2007) (USA) (theatrical)

-IFC First Take (2007) (USA) (theatrical)

-Iae (2009) (Japan) (theatrical)

-King Record Co. (2009) (Japan) (theatrical)

-Madman Entertainment (2007) (Australia) (all media)

-NetFlix (2007) (USA) (DVD)

-NonStop Entertainment (2007) (Sweden) (theatrical)

-Optimum Releasing (2006) (UK) (theatrical)

-Red Envelope Entertainment (2007) (USA) (DVD)

-Sandrew Metronome Distribution (2008) (Finland) (DVD)

User Comments and User Rating: From http://www.imdb.com/title/tt0480025/usercomments

A great British film - or should that be English?, 29 April 2007
******** 8 stars
Author: Andrew Marshall from United Kingdom

There is no doubt that this film is a truly great piece of film-making. Shane Meadows crafts films in the same style as Martin Scorcese. We are given a glimpse into the lifestyle of a group of characters over a short period of time. It is very much a fly on the wall type of movie. The point of these films is to understand the actions of the characters rather than judging their actions. I have no doubt that there will be some people that tag this film as being racist which is rather missing the point.

The film follows Shaun a 12 year old being brought up in early 80's England. He has lost his father in the Falklands war and suffers bullying and isolation until he is befriended by a group of skinheads. The happy band are challenged when Combo is released from prison. Thomas Turgoose is magnificent in the lead role and the direction/screenplay are also spot on the mark. For anybody that lived through the period there are lots of reminders about the period. The film is based on Meadow's own childhood and is quite mesmerizing at times.

I was gripped throughout the film and it also gave me plenty to think about afterwards. What more can you ask for when going to the movies? I suppose if you go to the movies for escapism then go watch something else, but if you want a gripping thought provoking drama then it doesn't come much better than this. Outstanding!

Skins in Thatcherland, 19 August 2007
******** 8 stars
Author: Stensson from Stockholm, Sweden

The skinhead culture fascinates many directors and it's understandable. It's one of the few remaining subcultures in the West, much because of the Nazi connections.

But the skins in this movie aren't political and no racists to start with. One of the gang members is even black. They live in a happy community in the early 80s, having fun and being together in a totally grey unfriendly working class environment. It's very hopeful and the 12-year-old finds himself accepted for the first time in his life. His longing for the dead father of the Falklands war is somewhat replaced.

But darkness arrives with the skin veteran who comes back from jail. And there are conflicts between the racist fraction and the others. But whatever this is, it's not black and white. The characters are much more complicated.

Much has been said about young Thomas Turgoose as the 12-year-old. He's very good but the great portrait is by Stephen Graham as the old/new gang leader. Absolutely brilliant work.

Best film of the Berlin Film Festival 2007, 14 February 2007
********** 10 stars
Author: dePaoli from Berlin, Germany

I just saw "This Is England" at the Berlin Film Festival where it was screened in the section "Generation 14P". This section is an extension of the former "Kinderfilmfest" for teenagers between 14 and 18 - dealing with more mature issues.

I had no clue about it, just that it would be about skinheads in England and that it takes place in the 80s. I wasn't expecting much, hoping for something like a British version of "American History X" - I got a lot more.

When I left the theater I was absolutely stunned! Cast and script were outstanding. I loved the rough editing and grainy camera style that made the movie look a real 80s flick! And last but not least: the soundtrack is a blast! And coming from a director who used to be part of the real scene, it might be the most authentic picture about skinheads ever made.

Although it didn't get as much attention as the Hollywood films that had their premiere at the Berlinale Palast, it's a lot stronger than almost all the films in competition.

Shane Meadows...is a genius!, 27 April 2007
********** 10 stars
Author: nextlevel from United Kingdom

Man oh man, I haven't been blown away by a movie since American History X.

I won't go into the detail of this, I really advise you to watch this movie.

It's hard hitting and gripping, right from the very beginning. Magnificent performances from relatively unknown actors. He did it with Dead Man's Shoes, he's gone and done it again. Hollywood producers, take note. You don't need the best special effects teams, or the 'glamorous' actors. Meadows makes his work look effortless, yet at the same time, it's brilliant, because of its simplicity. I didn't so much grow up in the 80’s; 90's was when I really grew up so can't comment on the accuracy of the times.

I'm a British/Pakistani and wasn't offended a single bit, and there is lots of violence and racism but nothing that isn't expected if you’re not narrow minded. This is a brilliant British movie, and I'm sure now Meadows will finally get the credit he deserves.

Shane Meadows, come forward. Take a bow.

Expected a Lot More., 12 July 2007
***** 5 stars
Author: cornisle1 from United Kingdom

After seeing Meadows' previous efforts I was expecting great things from this film. It starts off well, the 1980s setting really shining through. But as soon as the young lad joins the skinheads it's just too unbelievable, expecting the audience to accept the plot developments as normal human interaction. For instance, the romance of a pre-pubescent boy with a girl of at least 16, and it remains unquestioned by all as if it's normal. The acceptance of the lad's mother of her 12 year old son joining a gang of older, smoking and drinking skinheads. None of it rings true. Meadows has made much in the publicity of this film stating that skinheads weren't all racist NF thugs, but in the film there are only a couple of them who don't immediately jump in with Combo and his NF mates. There just isn't much plot development, Woody starts off as one of the main characters but as soon as Combo turns up is hardly seen at all.

Very disappointing. This and "Once Upon A Time In The Midlands" are leading me to question whether Meadows can be as consistently talented as I was hoping he would be.

I seem to be the only one who thought this was rubbish!, 11 September 2007
*** 3 stars
Author: (siblancomusic) from United Kingdom

The mood of this movie is pretty good and it captures the feel of the 80's well with some good performances.

However.....

The script is run of the mill with the exception of a couple of comedic moments and comes off as being weird where I expect it was intended to be edgy. The characters are totally over dramatized and unbelievable and full of right wing clichés that the script writer probably saw watching a panorama documentary on the national front. The biggest problem is this movie has no real story. It ticks all the right "arty" boxes but nothing actually happens and at the end you are left wondering what the point was.

Very disappointing

A highly overrated film. (Only minor spoilers.), 17 September 2007
*** 3 stars
Author: pib and pob from United Kingdom

I watched this film last night with anticipation, but really wasn't very impressed.

With the exception of 'Combo', I thought the acting was poor and the narrative was limited. It came across like a 'made for TV' drama.

I felt that the film was very contrived. The whole set up of hammering in the context at the start (yes, we get that this is 80s Britain - you can stop now) was tiresome, and gave a very one-sided view of what life was like in 80s Britain - poverty, war juxtaposed with royalty, Margaret Thatcher, yet nothing in between? There were actually middle-classes who existed back then - just ordinary working people, with a decent wage and a mortgage. The Falklands clips also seemed to be added randomly towards the end, for 'dramatic effect', I presume.

The sequence of events felt a tad disjointed, as the characters moved one one action to the next without us seeing how their mindset could've changed so quickly.

The relationship between 'Shaun' and 'Smell' was toe-curling. I couldn't even look during the snogging scene. I find it very hard to believe that she would've been attracted to a boy who was not only so much younger, but also looked so much younger. I know there were only four years between them, but four years is nothing once you reach your twenties, yet it's a huge difference in your teens! In my experience, that kind of teen age difference only occurs when the girl is the younger one, since girls mature so much quicker, and are more on the wavelength of boys a few years older. Sorry, but I didn't buy it - an unnecessary plot point created for shock value.

The ending was somewhat abrupt and, again, contrived. If the flag throwing incident was supposed to be iconic, then it fell somewhat short in my eyes.

It bugs me that British films only concern themselves with either the upper classes or the poverty-stricken. Don't get me wrong, I love Trainspotting, and Four Weddings has its charms, but can't we Brits come up with anything different? Why are our films always so hung up on the class system? I was born in 1973, so wasn't much different in age to 'Shaun' would've been in 1983. I grew up in a single parent family on a fairly down-trodden council estate in a city in England. However, my childhood experiences were vastly different to those portrayed in the film - I don't even remember racism being an issue (although i'm not saying it didn't exist). 'This is England'? Not in my experience.

The bottom line is that I felt this film lacked substance, and I was completely bored and unimpressed throughout.

These reviews suggest that there were a mixture of reactions to the film, however an overall user rating of 7.9 (as voted for by 19, 276 people) shows that generally it received a positive response. The fact that two of the most positive user comments were written by a German from Berlin (dePaoli) and a Swede from Stockholm (Stensson) suggests that the film can be enjoyed by those that you may not necessarily think would particularly relate to the characters in the film. This is quite surprising as one of the essential appeals of the film is the home-grown, distinctly British signifiers which are primarily aimed at young Brits of today. However, the fact that the three negative user comments were written by three people from the UK is quite interesting as according to some of their comments such as ‘my childhood experiences were vastly different to those portrayed in the film…’ the film is perhaps not so representative and authentic as the initial appeal of it suggests it should be.

Reviews:

USA – TIME Magazine by Christopher Thompson

Trying to rehabilitate the public image of skinheads is no easy task. Judging by Hollywood's take on the genre — see 1998's American History X or Russell Crowe in 1992's Romper Stomper — skinheads are popularly portrayed as neo-Nazi racists with a penchant for violent thuggery. Not so, contends Shane Meadows, the young British director whose new film, provocatively entitled This is England, is raising eyebrows in its exposé of this most controversial of subcultures.

Meadows, who admits to once being a "skin" himself, argues that skinheads were amongst Britain's first anti-racists, mixing with newly arrived waves of West Indian immigrants with whom they indulged a mutual love of reggae and ska. Hailing from a staunchly working-class background, Meadows, 35, dropped out of school as a teenager and later made his first films while subsisting on welfare benefits in his native Nottingham. He hit critical acclaim with his 1999 second feature, A Room for Romeo Brass, set in a Yorkshire mining town on the skids.

Meadows contends that it was only during the 1980s that the skinhead movement became infected by the Far Right, a collection of neo-fascist political parties, led by the infamous National Front, which called for the forced repatriation of immigrants. With the decline of British manufacturing and the onset of high unemployment, many working-class skins, whose communities bore the brunt of the new arrivals from abroad, became seduced by the promises of anti-immigrant politicians.

So begins Meadows' film, set in Uttoxeter, the heart of Britain's former industrial midlands. It's 1983 and this declining seaside town is fired up on royal weddings and Thatcherism. A brown-skinned local businessman occasionally has to deal with racist slogans spray-painted outside his shop, but it's a world away from the violent anti-immigrant demonstrations taking place elsewhere in the country.

Shaun (played the excellent actor Thomas Turgoose) is a solitary 12 year-old who, when not being teased about his oversized bell-bottoms, has taken to wandering by himself on a deserted beach ever since the death of his father in the Falklands War. He meets Woody — the friendly head of a local skinhead gang who take Shaun under their wing — and suddenly life starts looking up. Shaun collects friends and protectors, has fun smashing up derelict houses and even scores an older girlfriend.

Meadows' lingering camera shots over the local school playground filled with different gangs — Mods, Rockers, New Romantics — gives an anthropological feel to his study, almost like watching a National Geographic documentary on British youth tribalism. But it's clear where Meadows' own working-class allegiance lies: following Woody's skins strutting through alleyways, apropos of Reservoir Dogs, in drainpipe jeans, checkered shirts and Doc Marten boots.

But the good times can't last. When macho skinhead Combo (played by a snarling Stephen Graham) turns up at a party, fresh out of jail, things are about to go awry. Quickly the alpha Combo sets about ousting Woody with a classic divide-and-rule speech about the need for "proud warriors" to defend England's green and pleasant land. Having then established himself as a surrogate father to Shaun, Woody drags the remaining members of the gang, after several desertions, to a fascist National Front rally.

Typically, Meadows probes deeper than simple black-white characterizations, even eliciting a quiet sympathy for the fearsome Combo when, during an intimate conversation with Shaun, he hints at being abandoned by his own father. Nevertheless our gaze is averted when the once sweet-and-fragile Shaun starts to change, first daubing racist abuse around the town's walkways and then terrorizing a "Paki" newsagent in emulation of his new mentor. Our fears are confirmed: Shaun has been transformed into a neo-Nazi foot soldier in-the-making.

Throughout the film Meadows deals deftly with the cultural confusions of the skinhead movement, whose members' bedrooms — replete with vintage posters of blaxploitation flicks and ska-music icons — attest to the influence of foreigners, and of Jamaicans in particular.

Combo admits as much himself when he attempts to befriend the only black member of Woody's gang — the cheekily named Milky — reminiscing about how, when he joined the "original" skinheads back in the late 1960s, they all stood proud under the banner of racial unity. When Milky begins to talk about his extended family, Combo's eyes well-up. Half-ashamed, half-envious of what he misses most, Combo is poised on a knife-edge before the film turns toward its hideous, and inevitable, climax.

Drawing from a rich tradition of British cinematic realism, which includes directors like Ken Loach and Mike Leigh, the film has sparked controversy in its native land. England has long prided itself as an island of tolerance and freedom for newcomers, and detractors claim that Meadows' focus on an unpopular war — the film is inter-spliced with Falklands' footage — together with anti-immigrant racism lends undue emphasis to the seamier side of the country's recent past. A Sunday Times review by critic Cosmo Landesman dismissed the film's portrayal of 1980s (predominantly) white-working class as "unconvincing," railing against a "fatuous" attempt to link the war in the Falklands with the one that Combo wants to fight back in England.

Meadows' attempt to humanize skinheads is a world away from the knee-jerk negative characterizations that informed cinema's previous depictions of the subculture as uniformly racist and violent. While it may be true that far-right parties no longer play any part in Britain's mainstream political discourse, other extremist movements are rising in Europe. And with the invasion of Iraq and rise in Islam phobia, Meadows suggests that ‘This is England’ could be as much a warning for England's present as it is a depiction of its past

British – The Guardian review by Peter Bradshaw

Shane Meadows continues his fast and fluent film-making career with this quasi-autobiographical picture about skinheads: a movie with hints of Alan Clarke's Made in Britain and, in its final image, the haunted disenchantment of Truffaut's The 400 Blows. It is a sad, painful and sometimes funny story from the white working classes of 1980s Britain; the cannon-fodder caste alienated from Falklands rejoicing on the home front and not invited to participate in the nation's promised service-economy prosperity.

Meadows boldly attempts to reclaim the skinhead from the traditional neo-Nazi image, explicitly distinguishing his characters from a separate racist influence, and presenting them as an anarchic youth tribe that idolised West Indian music. He sees their susceptibility to the extremist right as a poignant and even tragic part of their fatherless culture, literally and figuratively orphaned by the times.

There's a winning lead performance from 13-year-old newcomer Thomas Turgoose playing a put-upon lad called Shaun in the run-down Grimsby of 1983. His dad was a serviceman killed in the Falklands and he's perennially getting picked on for this, and for his horrible flared jeans which make him look, as one bully cruelly puts it, like Keith Chegwin's son. Sloping and moping his way home after a standard-issue school day of humiliation, Shaun gets waylaid by some skins in a dodgy underpass, but instead of yet more battering, the gang gives him sympathy and understanding; they become Shaun's only friends, and with a new Ben Sherman shirt and number one cut, Shaun has new pride and a new identity.

The gang's leader is Woody - a cheerful, sparky performance from Joe Gilgun - and they have an African-Caribbean member facetiously nicknamed Milky, played by Meadows regular Andrew Shim; Shaun even finds romance with one of the group's girl-punk fellow travelers: a languid and rather elegant older woman called Smell (Rosamund Hanson) who earnestly explains to Shaun's mum that she is called that simply because it rhymes with Michelle. The idyll is soon destroyed with the highly unwelcome appearance of Combo, a ferocious and sinister skin warrior just out of prison, played by Stephen Graham. He demands the group join his National Front cell, and turn out for an NF meeting in a tatty pub, addressed by one of the movement's suit-wearing officer class, played in cameo by Frank Harper.

Turgoose is the picture's heart and soul, and it's a terrifically natural, easy and commanding performance. Turgoose's open face radiates charm, and then, when he goes over to the dark side of racism, a creepy, anti-cherubic scorn: almost like one of the little blond kids in Village of the Damned. But Meadows is always concerned to preserve a sympathetic core to Shaun, and in fact to all the skins. Even the deeply objectionable Combo is shown to be suffering from emotional pain.

Like Meadows' earlier pictures, Dead Man's Shoes and A Room for Romeo Brass, This Is England is about younger, vulnerable figures being taken under the wing of older, flawed men, and this personal theme here finds its richest and maturest expression yet. As to whether we should buy its implied leniency about skinhead culture: that is another question. The West Indian influence is advanced as proof that skins were not necessarily racist: yet it can't cancel out Combo's hate campaign against South Asians, the "Pakis" who "smell of curry", a campaign which goes quite unchallenged or even unremarked upon by any of the skins, good or bad.

The skinhead identity is, after all, obviously supposed to be more aggressive than that of other tribes: I remember as a 10-year-old cowering on the terraces of Watford football club in the early 70s, as the Luton boot boys got stuck in, and my father grimly telling me that the reason they shaved their heads that way was so the coppers couldn't grab them by the hair. Whether or not that is true, it certainly made the wearer's head look like a big, third clenched fist. And it's still difficult to get a handle on them.

Meadows appears to want to find emotional truths behind the bravado, to find reasons for the male rage. It's a valid quest, and there are telling and touching moments, particularly between Turgoose and Rosamund Hanson. I found myself wishing that their love story could occupy more of the film, maybe for the same reason that the Shane Meadows film I have enjoyed most is the one his real fans loathe: the comedy Once Upon a Time in the Midlands. But from the get-go of this drama, it is obvious that things are heading only one way: towards a climactic flourish of violence, and it's a glum business wondering to whom and from whom this is going to happen. This is a violent subject, and these are violent people, and yet I couldn't help feeling that Meadows is, as so often, more comfortable with machismo than with the humour and gentleness which play a smaller, yet intensely welcome part of his movies. However agnostic I confess to still feeling about his work, there's no doubt that Meadows is a real film-maker with a growing and evolving career, and with his own natural cinematic language. When I think of his films, I think, for good or ill: this is English cinema.

Gold Standard:

According to the Gold Standard Rule 16 points in various categories are needed for a film to pass for tax relief, and also what defines a truly British film!

A Cultural Content
A1	Film Set in the UK	Yes	4/4
A2	Lead Characters Citizens or residents of the UK	Yes	4/4
A3	Film Based on British subject matter or underlying material	Yes	4/4
A4	Original dialogue recorded mainly in the English language	Yes	4/4
B Cultural Contribution
B1	Film represents/reflects a diverse British Culture, British heritage or British creativity	Yes	4/4
C Cultural Hubs
C1	Studio and/or location shooting/visual effects/special effects	Yes	2/2
C2	Music recording/audio post production/picture post production	Yes	1/1
D Cultural Practitioners
D1	Director	Yes	1/1
D2	Scriptwriter	Yes	1/1
D3	Producer	Yes	1/1
D4	Composer	No	0/1
D5	Lead Actors	Yes	1/1
D6	Majority of Cast	Yes	1/1
D7	Key Staff: lead cinematographer, lead production designer, lead costume designer, lead editor, lead sound designer, lead visual effects supervisor, lead hair and make-up supervisor	Yes	1/1
D8	Majority of Crew	Yes	1/1
Total:		30/31

‘This is England’ is most definitely defined as a British Film, and is entitled to the full tax relief from ‘The Department for Culture, Media and Sport’.

Movie Connection:

The themes running throughout ‘This is England’ are of racism/ethnic hatred, emotional loss, misconceptions of stereotypes (Skinheads), bullying, gangs, grubby urban locations, prison, family and friend relationships, and political unrest. Other films with themes like this include, American History X – Skinheads/Gangs, Racism, bullying, relationships, prison etc. Green Street – gangs/skinheads, aggression, prison etc. Boyz ‘n’ the hood – Crime, gangs, police, relationships etc. Football factory - Gangs, racism and bullying.

Awards:

‘This is England’ won 8 awards and was nominated for another 14 these were in chronological order:

In 2006 at the ‘British Independent Film Award’ it won the ‘Best British Independent film’ and ‘Most promising Newcomer (On Screen)’ for Thomas Turgoose. It was also nominated for ‘Best Director’ (Shane Meadows), ‘Best Screenplay’ (Shane Meadows), ‘Best Supporting Actor/Actress’ (Joseph Gilgun), ‘Best Supporting Actor/Actress’ (Stephen Graham), and ‘Best Technical Achievement’ (Ludovico Einaudi).

Also in 2006 at the ‘London Film Festival’ it won the ‘UK Film Talent Award’ for the Producer Mark Herbert.

In 2007 at the ‘Bangkok International Film Festival’ the film was nominated for the ‘Golden Kinnaree Award’ (Best Film).

On top of this it was also nominated for the ‘Grand Prix’ award at ‘Flanders International Film Festival’.

Also in 2007 it won the ‘Young Audience Award’ at the ‘Gijόn International Film Festival’.

In Addition to this it won the ‘Best Director Award’ at the Newport International Film Festival.

In 2008 ‘This is England’ won the ‘BAFTA Film Award’ for ‘Best British Film’ and was nominated for ‘Best screenplay’.

At the ‘Empire Awards, UK’ it was nominated for ‘Best British Film’ and also ‘Best Newcomer’ for Thomas Turgoose.

On top of this it was nominated for the ‘Best Independent Poster Award’ at the ‘Golden Trailer Awards’.

Also in 2008 it was Nominated at the ‘London Critics Circle Film Awards’ for ‘British Breakthrough in acting’ for Thomas Turgoose, ‘British Director of the Year’ for Shane Meadows, and ‘British Film of the Year’.

Finally in 2008 ‘This is England’ won ‘Best European Film’ and ‘Young European Jury Award’ at the ‘Mons International Festival of Love Films’.

Other Shane Meadows Films:

Shane Meadows in comparison with someone like Steven Spielberg has been involved in making very few films and out of these films ‘This is England’ is by far his most popular and biggest film so far, however he has tried his hand at lots of different jobs like: Directing, Producing, Writing, Acting, Editing, etc. the full list of his other films can be seen below:

Director

Somers Town (2008)

This is England (2006)

The Stairwell (2005)

Northern Soul (2004)

Dead Man’s Shoes (2004)

Once Upon a Time in the Midlands (2002)

A Room for Romeo Brass (1999)

24 7: Twenty Four Seven (1997)

Small Time (1996)

Where’s the Money, Ronnie? (1996)

Writer

This is England (2006)

The Stairwell (2005)

Northern Soul (2004)

Dead Man's Shoes (2004)

Once Upon a Time in the Midlands (2002)

A Room for Romeo Brass (1999)

24 7: Twenty Four Seven (1997)
... aka TwentyFourSeven

Small Time (1996/II)

Where's the Money, Ronnie? (1996)

Actor

Once Upon a Time in the Midlands (2002)

A Room for Romeo Brass (1999)

24 7: Twenty Four Seven (1997)

Small Time (1996)

Where’s the Money, Ronnie? (1996)

Editor

Northern Soul (2004)

Where’s the Money, Ronnie? (1996)

Producer

Small Time (1996)

Where’s the Money, Ronnie? (1996)

Cinematographer

Where’s the Money, Ronnie? (1996)

Outlets/Exhibition:

The film is currently out on DVD, and was shown recently on Channel 4 after the 9 o’clock watershed. When it was first released it was shown in the local area at an independent cinema called Cinema City.

Information collected from: http://www.imdb.com/title/tt0480025/