Woody is a pimp and fixer for his boss Stanley and Soho in London is their territory. When Woody agrees to be filmed by a documentary film crew he doesn't expect his week to be filled with so much commotion. Being beaten up by his landlord for late payment of rent is the least of his worries. When he discovers that one of his girls has gone missing, a hunt begins to find her. A rival Chinese gang also appears to be moving into Woody's terrain. It could be the start of a brutal turf war. Realising his life up until now doesn't really give much to his future, Woody starts to question if it's time to make a move away from his lifestyle which is starting to spiral out of control.
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However her latest film, "Yes," is a failed experiment.Joan Allen plays an Irish-born woman stuck in a loveless, childless marriageto a philandering husband (Sam Neill). She meets a Lebanese cook (SimonAbkarian) who was once a surgeon in Beirut, and begins a love affair. Writtenentirely in verse, "Yes" requires the actors to suffer throughlong passages of blathering talk, and the scenes routinely dry out longbefore they end.
Potter attempts to add layers to the film by hinting atpolitical paranoia and showing scenes through surveillance cameras, butthe verse angle nullifies these attempts. The superb Allen is capable ofextremes: from icy control to dropping her emotional guard, yet she cannotmake this film's rhythms work.
Shirley Henderson, playing a maid who observes the actionand breaks the fourth wall by speaking directly to the camera, shows justhow the film might have played. With her silky, slithering delivery, sheplays with the words like a snake might toy with a mouse.
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