Franklyn

Gerald McMorrow's first film (he both writes and directs) is something of an oddity. At first it feels like you're watching two different movies. On the one hand, stormy masked hero Jonathon Preest (Ryan Philippe), who could have been plucked straight out of a graphic novel, prowls the streets of Meanwhile City, where the all-powerful ministry seeks to use religion to control the masses. Preest's voice over growls well worn attacks on faith as he faces hordes of bizarrely dressed law enforces. Seems a little like a less good version of V For Vendetta.

Then suddenly we jump to modern day London, where three lost souls stumble around feeling sorry for themselves. In the first half I can guarantee you will feel nothing but confusion, and the four parallel storylines mean that they're not as well developed as you would like. But suddenly it all starts making sense, delusions are unearthed, and the four narrative strands suddenly start to connect. The finale involves all of our four protagonists' lives being put in danger as the assassination attempt Preest has spent the film grumbling about finally comes to fruition.

You'll still desperately be trying to make links after the closing credits, and be left with the impression that you've just experienced a very clever film. Yes, it is an attack on faith, but the overall impression is much more subtle than Jonathon Preest's preaching. "Life's too much of an adventure as it is without making anything else up" smiles Emilia (Eva Green), the childhood sweetheart of Milo (Sam Riley) who is not what she seems. This line sums up the entire film, as the character's delusions and departures from reality are exposed as the cause of their pain.

It's very cleverly shot, each narrative strand is filmed in a subtly different style to reflect the individual characters. The clockwork like music perfectly compliments the stunning visuals of Meanwhile City. The acting is top rate, Eva Green (the witch in Dark Shadows) plays both an emotionally fragile, self-destructive artist and a friendly and airy long lost love to perfection. Sam Riley (who was a fantastic villain as Pinky in Brighton Rock) is innocent and vulnerable as Milo.

Gerald McMorrow's hand gestures communicate hidden depths to Milo and Sally.

With an intricate plot to rival the work of Christopher Nolan coupled with the emotional intensity and philosophical ponderings of Richard Kelly, Gerald McMorrow has certainly delivered a promising debut, and offers a significant contribution to the film industry.

Rating: 8/10