The Cottage

Writer-director Paul Andrew Williams’ follow-up to London To Brighton is, by his own admission, a film of two halves Discuss this article

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Writer-director Paul Andrew Williams’ follow-up to London To Brighton is, by his own admission, a film of two halves: the trouble is, neither of them works. It begins as a comedy crime caper: the bossy David (Andy Serkis) and his wimpy brother, Peter (Reece Shearsmith) kidnap a gangster’s foul-mouthed daughter, Tracey (Jennifer Ellison), but bite off more than they can chew.

Things take a violent swerve when this sorry trio, Tracey’s dopey step-brother Andrew (Steven O’Donnell) and a pair of stereotypical Chinese hitmen fall foul of The Farmer, a hideously scarred psycho with a ready supply of agricultural implements. Guts are spilled, toes are amputated, a leg is pick-axed and everyone loses their head – one of them, literally.

Andy Serkis shouts a lot, as if raising the decibel level will compensate for the dire dialogue, while Jennifer Ellison displays more cleavage than acting ability. Only League Of Gentlemen alumnus Shearsmith has the measure of the material, but his subtle character work is simply drowned out. A jaunty, nerve-grating score by Laura Rossi embodies the air of forced, empty jokiness.

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