Sam and Fordy are young students who think of themselves as entrepreneurs in the business of credit card fraud. They and their friends are making a lot of money already, but it's a stressful business - they introduce glamorous new recruit Frankie into the group; a data processor for a credit card company who could prove to have the inside knowledge needed to make their money making schemes a hell of a lot simpler. They go oversees to scam some of the world's biggest billionaires, but it isn't long before one 'victim' catches up with them. An infamous gangster named Marcel finds them and threatens to kill them if they do not pay him a debt of $2 million in two weeks. Their lives now hanging in the balance, the group need to a license to print money if they want to make it - unless they can pull of a major jewel heist between them. However, with a potential fortune to be made, will their greed overcome their friendships?
'Plastic' is a crime drama based on a remarkable true story. It has been directed by Julian Gilbey ('A Lonely Place to Die', 'Rise of the Footsoldier') who co-wrote the screenplay alongside Will Gilbey ('Doghouse', 'Just for the Record') and Chris Howard (producer of 'Get Lucky'). It is scheduled for UK release on May 2nd 2014.
Five friends are hiking in the wilderness when they discover a young girl, Anna (Boyd), buried in a box. The most adept climbers (George and Newman) go for help following a shortcut that involves a dangerous descent, while the others (Speleers, Magowan and Sweeney) take Anna on a safer route. But they're being chased by a pair of merciless killers (Harris and McCole) who need to get Anna back so they can collect ransom money from a shady Eastern European (Roden).
And as things turn very violent, everyone gets increasingly desperate to survive.
Continue reading: A Lonely Place To Die Review
At first I thought I was reading it wrong: The title was just It's All Gone and "Pete Tong" was a wayward producer credit or something.
Continue reading: It's All Gone Pete Tong Review
Opening with an energetic blitz of Wilde's decadent, party-hardylifestyle (cocaine, booze, puking, orgies, stage-diving, magazine covers,Ibiza beach parties), the film follows his descent into a strung-out hellof wheels-falling-off-the-wagon self-pity after going stone deaf -- andthus losing his livelihood and his only real talent. But writer-directorMichael Dowse then taps into the revitalizing potency of a metrical andmetaphysical epiphany that brings Wilde (played with frazzled, hyperactivecharisma by Paul Kaye) roaring back to prominence before he disappearswithout a trace at the height of his fame.
The title is Cockney rhyming slang for "it's all gonewrong," and Kaye -- with his scruffy hair, unevenly angular face andoh-so-British teeth -- rides his character's foolishness and vitality likea racecar with 100,000 hard miles on its tires. He just keeps pushing andpushing even though he knows in the back of his head something's goingto blow. Wilde is so fried he's barely able to form a coherent sentencewhen he's living what he thinks is the good life.
Bad genetics and loud music conspire to bring him downto earth, and once his hearing is gone, he nose-dives toward rock bottomand fights his sometimes comically depicted demons. His coke habit is symbolizedby a guy in a badger suit literally shoveling white powder in his faceand beating him up.
Continue reading: It's All Gone Pete Tong Review
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