Nick Moran stars in this drama as Christie Malry, a lowly bank worker who indulges in extreme fantasies of sex and violence to escape his humdrum life of a job he hates and having to care for his dying mother. Whilst taking an evening class, Christie learns the principles of double-entry bookkeeping and adopts the theory that .. Read more
| Starring | Nick Moran, Neil Stuke, Kate Ashfield, Marcello Mazzarella |
|---|---|
| Director | Paul Tickell |
| Run time | 91 mins |
| Genres | Drama |
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Beset by numerous distribution problems since its completion, director Paul Tickell's ambitious adaptation of BS Johnson's 1973 novel racks up more debits than credits. On the plus side, Shirley Anne Field and Kate Ashfield impress as the dying mother and unsuspecting girlfriend of book-keeper Christie Malry (played by Lock, Stock's Nick Moran). It's his twisted world view that prompts him to commit increasingly deadly acts of subversion, which he tallies in a ledger detailing his notional fortune. However, the asides on the lethargy and cynicism of the modern world are lost within the flashy visuals and the parallel storyline that features the 15th-century monastic mathematician Pacioli (who first recorded the double-entry method) and his friend, Leonardo da Vinci.
Adapted from the angry novel by experimental novelist BS Johnson, this is an ambitious attempt to capture on film a... read more on Time Out
Remarkable, a Billy Liar for the modern era. This is one of the most stunning debuts from a British Director in years.
Ever wanted to get even with those who endeavour to get in your way, well Christy does and whats more he keeps an account of anyone who dares.
Superbly performed by Moran, Stulke, and Ashfield the film also includes a cracking sound-track from Luke Haines.
An absolute must.
This is not a terrible film by any means but it could have been so much better. The basic idea of the film is intriguing - someone applies the rules of double entry book-keeping to daily life and seeks to balance the books by taking out equal retribution (credit) for each wrong done to them (debit). If only the director had stuck to this simple premise this could have been a tight and intriguing film, as it is, an irrelevant sub-plot featuring Leonardo Da Vinci and a token love interest draw attention away from the central character and his obsessive mission. The film is loose and rambling to capture when it should be a tightly wound and precise.