Similar sentiments appeared to be echoed by Noel Clarke, as this semi-spoof of his two Hood films caused a clash between Clarke and Adam Deacon on Twitter. It's a shame it overshadows Anuvahood, because it's an easily watchable film that flies along like all good cartoons do, even though it's nevertheless an odd mix.
While fairly amusing, subtlety is not in evidence here. Deacon's character works at a supermarket called Laimsbury's and all concerned roll their eyes, overplay their dialogue, exaggerate body language... it's a full on sillyfest where even Big Brother's Aisleyne Horgan-Wallace is on hand to spoof her own Big Brother catchphrase, pretend to receive cunnilingus and reference Mike Tyson. Fun for what it is, if you're prepared to get in on the gag, but never possessing anything remotely resembling reality or intelligence.
And yet... fifteen minutes before the end the whole thing changes. Not only are we suddenly supposed to believe in, and care for, Deacon's band of two dimensional comic misfits, but the violence is ramped up. And this isn't comic violence, as demonstrated throughout the film, but sickening, graphic bloodied violence that makes Kidulthood and Adulthood put together appear tame.
It's an unusual decision that throws the film completely, like having the climax to Reservoir Dogs serve as an ending to Laurel and Hardy's Way Out West. Sure, other cartoons have gone in for face-distorting occurrences... but after Tom's face was smashed in by an iron he could always put it back to normal two frames later.
While fairly amusing, subtlety is not in evidence here. Deacon's character works at a supermarket called Laimsbury's and all concerned roll their eyes, overplay their dialogue, exaggerate body language... it's a full on sillyfest where even Big Brother's Aisleyne Horgan-Wallace is on hand to spoof her own Big Brother catchphrase, pretend to receive cunnilingus and reference Mike Tyson. Fun for what it is, if you're prepared to get in on the gag, but never possessing anything remotely resembling reality or intelligence.
And yet... fifteen minutes before the end the whole thing changes. Not only are we suddenly supposed to believe in, and care for, Deacon's band of two dimensional comic misfits, but the violence is ramped up. And this isn't comic violence, as demonstrated throughout the film, but sickening, graphic bloodied violence that makes Kidulthood and Adulthood put together appear tame.
It's an unusual decision that throws the film completely, like having the climax to Reservoir Dogs serve as an ending to Laurel and Hardy's Way Out West. Sure, other cartoons have gone in for face-distorting occurrences... but after Tom's face was smashed in by an iron he could always put it back to normal two frames later.