Catch Me Daddy: A Grim Ride Into the Reality of Honour Killing

Catch Me Daddy. 2014. Directed by Daniel Wolfe. Screenplay by Daniel & Matthew Wolfe.
Starring Sameena Jabeen Ahmed, Connor McCarron, Gary Lewis, Barry Nunney, Adrian Hussain, Anwar Hussain, Ali Ahmad, Shoby Karman, Wasim Zakir, Nichola Burley, & Kate Dickie. Emu Films/Film4.
Unrated. 110 minutes.
Thriller

★★★★★
POSTER
Does a film need to have a massive plot? Can an entertaining bit of cinema simply have a small, intricate plot that runs on atmosphere? Catch Me Daddy is a movie that certainly has a plot. All the same, the events move towards a conclusion that doesn’t particularly satisfy. Nor does it let down, either. Essentially, director Daniel Wolfe, along with screenwriting partner on this picture Matthew Wolfe, crafts a chase into the extended series of events which frame the story of love, honour, betrayal, culture, and so much more. The tone of the film is gritty, its look equally as raw. In addition, Wolfe uses mostly a cast of relative to completely unknown actors, which further grasps that aim of realism. Most of all, this movie tackles the issue of honour killings and the culture clashes amongst the lower class in England without getting too controversial. Not that controversy is bad. But Wolfe’s film takes on a different air, instead of diving deep into dialogue or exposition on the cultural and racial issues, and what results is an endearing, tense, even brutal ride through the streets of England, the countryside, the caravans. Best of all? We’re never spoon fed all the ingredients. Rather, the crew of filmmakers alongside Wolfe give us plenty to look at, listen to, and leaves us with a hunger for understanding.
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Laila (Sameena Jabeen Ahmed) is a young Pakistani woman living in Britain. She hides from her strict religious family in a caravan out in the country with her Scottish boyfriend, Aaron (Conor McCarron). They get by, as she works assisting a hairdresser, and Aaron does his best to track down a job.
But there are men looking for them, specifically Laila. Her brother Zaheer (Ali Ahmad) leads a group of his friends in the charge. Also, two white men named Tony (Gary Lewis) and Barry (Barry Nunney) are on the trail. When Laila and Aaron find themselves discovered, and she accidentally kills her brother, the chase is on. Unable to trust anyone, the two lovers rush like mad to escape their fate. Through the countryside, into the streets of London, Laila must run for her life. Or else she’ll lose it.
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Cinematographer Robbie Ryan takes us right into the world of these characters, offering up a beautiful style and at the same time giving us a gritty, dark visual atmosphere that you can almost chew. Ryan is particularly adept at capturing those gritty landscapes, as evidenced by his previous work on such films as IsolationRed RoadFish Tank, and he has a unique flair that’s quite noticeable in the recent Slow West. This film is almost a mix of those qualities. While Ryan finds all those raw, rough qualities that are worth seeing when tackling a story highly based in reality, he simultaneously infuses many of the scenes here with a gorgeous look, nearly radiant at times. The rich, vibrant look of certain shots combined themselves with the grittiness of all the lower class neighbourhoods, caravans and other locations, and this aesthetic creates an interesting space in which everything plays out.
Not only is the cinematography excellent, the score from first timers Matthew Waston (a.k.a Matthew Wolfe) and Daniel Thomas Freeman is wild. Whereas a few scenes contain popular music, it’s the music Watson and Freeman add that helps make so many of the scenes chug along filled with adrenaline, fear, and suspense respectively. When Laila is first forced to flee the caravan where she and Aaron hide, the frenetic music propels the entire film forward, and it prepares us for a chaotic cat-and-mouse thriller.
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I love the screenplay for this film. There are so many elements that are only alluded to briefly, which is always a plus. Stories that try jamming exposition and unneeded dialogue down the audience’s collective throat are the worst. Not to say there shouldn’t be anything concrete. On the contrary, I hate when scripts are vague simply for being vague’s sake. In direct opposition, Catch Me Daddy focuses very clearly on its present events, while all the past, the backstory, the characters and their lives remains distinctly behind them. We get allusions to previous events, the lives of the characters. Nothing is spelled out plainly, though. And all the better for it. Because once the end comes around, this film throws us for a curve. We want answers, we’d like to know everything. But what will that help? Will anything give us a clear path towards understanding Laila’s father? We already recognize her clear hopes to be her own woman, separate from the wants and wishes of her family, the expectations of her culture. Left with an ambiguous ending, no answers offered up, the screenplay defies explanation. Likely, we all know what happens after the credits roll. Although, Wolfe & Wolfe give us nothing perfect, nothing that fits entirely into the right box. The mystery surrounding some of the film’s plot and events is what makes it so intriguing. If everything were laid out, we might have come to a fully formed idea of what happened, perhaps even see exactly what comes next. Without that, director Wolfe leave us in a position where the agonizing questions, the lingering, sore emotions are still up for debate. Nobody here is trying to make a statement, so much as the filmmakers are presenting us with a harsh reality of what goes on within certain pockets of culture bent on fundamentalism, and the path hardcore belief can lead brothers, fathers, sisters, lovers on.
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The central performance from Sameena Jabeen Ahmed is quality. She is amazing, even just when it’s her eyes on camera. Her expressions, her demeanour, it is all perfect for this role. Her acting talent, as well as the excellent Gary Lewis, provide Catch Me Daddy with an anchor. Even when it feels as if not much is happening, the actors allow us to stay rooted, and the film carries you away.
A definite 5-star affair. From cinematography to acting to score, this is one hell of a ride. The slow burn nature of the plot may get to some, but trust me, if you hang in there every last bit is worth it. Again, if you prefer expository dialogue and having every last detail of the characters and plot explained in long-winded scenes, then this is certainly not your cup of tea. If you do like a challenge, a film that tries its hand at storytelling instead of dishing out concrete evidence for every last move, this is up your alley.
There is a ton of great stuff to enjoy here, and it’s impressive this small film is capable of holding the weight it does. Wolfe does a spectacular job in the director’s chair, giving us a glimpse into a world foreign to many of us, yet gives us enough that we feel involved in that world, at least for 110 minutes.

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Dealer’s Refn-Inspired Parisian Crime

Dealer. 2014. Directed by Jean Luc Herbulot. Screenplay by Samy Baaroun & Herbulot.
Starring Dan Bronchinson, Elsa Madeleine, Salem Kali, Bruno Henry, Hervé Babadi, Dimitri Storoge, Fatima Adoum, Didier Mérigou, Emmanuel Bonami and Franck Boss. Multipass Productions/Mad Films-Mi.
Unrated. 75 minutes.
Action/Crime/Thriller

★★★1/2
POSTER
Ever since Nicolas Winding Refn brought the Copenhagen drugworld out in all its gritty, raw glory with Pusher twenty years ago, many other filmmakers have tried their best to attain the same level of magic with their own tales of the mean streets in various countries. Most recently, I loved Gerard Johnson’s Hyena, which definitely pulled from Refn yet kept its own vibe in tact with lots of dubious police morality, a few nasty splashes of blood and plenty of the ole ultraviolence.
And now, we have Jean Luc Herbulot coming at us with the 2014 crime-thriller Dealer. There are absolutely bits and pieces of the film which exhibit influences of Refn. At the same time, there’s a little more action here, more dialogue, and certainly there’s the differing narration in this movie which sets it apart from any of its influences, Refn or otherwise. And while it isn’t a perfect crime-thriller there are a ton of impressive sequences, well-written scenes, as well as debilitating moments of violent action which propel us into the French underworld, filled with odd and quirky characters, drug dealing pieces of shit, murderers, and a whole lot more. Herbulot may not succeed on every note, hitting a few that call to mind too much other films. But outside of that, Dealer is a lot of fun – grim fun, at that. If what you’re looking for is another guided tour through the drug life of a middle man dealer in the gutters of Paris, or what could be any major city with a taste for illegal substances, then this is certainly a film you don’t want to pass up.
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Always dreaming of going to Australia with his daughter, drug dealing Dan (Dan Bronchinson) is in a bad way. His life isn’t exactly stellar, trying to navigate a rocky relationship with separated wife Léna (Maïa Bonami), sleeping with a prostitute named Chris (Elsa Madeleine), all the while attempting to exit the cocaine business to make his dreams come true.
When Dan is offered a once in a lifetime opportunity he must remain a little longer as a cocaine dealer. Except in a twist of fate, the drugs he’s given – worth 70,000 francs – end up disappearing, which leads Dan and his tenuous associates on a fast thrill ride through the underbelly of Paris looking for the culprit. And worst of all, his family finds themselves in the cross-hairs of his disgusting business, and the conclusion will be tough; for every last person involved.
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One sequence I loved is where Dan walks the streets, mourning the loss of his cocaine and stressing over where to get the money he owes for it. His red jacket is the only colour visible in the frame for a while, as he smokes and pushes through crowds of people. Best of all, he sees everything from cellphones to shoes to jackets, and more, with price tags next to them. Tallying up how much he’d have to steal and hawk in order to make up the 70,000 francs, which is the equivalent of nearly $100,000 in American and Canadian dollars. This whole sequence is great and gives us more than just the raw style director Herbulot goes for most of the film; not to say I don’t enjoy that, it’s just nice to see more than one technique displayed.
Above all, it’s the intense pacing of the film I enjoyed. Whereas many crime-thrillers, particularly those with twisty plots, sometimes find themselves with a slow pace due to heavy dialogue, too much exposition, or any number of issues, Dealer succeeds in keeping things fast paced, exciting, from the very beginning straight into the finale. That’s one thing that helps Herbulot distance his movie from Refn – not that he needs to, but you know what I mean. The fact Herbulot keeps the film speeding from scene to scene is impressive work, as we could easily find ourselves bogged down in so many details, too many characters, too much violence. However, this never ever happens. Not once was I looking at my watch, as has happened in the past with other similar films. In fact, the 75 minute runtime whittles away incredibly quick, and I was surprised during the final 15 minutes when I realized everything was almost finished. The lasting impact of the few final scenes is especially resonant. Again, it brings to mind quite a bit of the way Refn ended his first Pusher. Although, I found the writing here from both Herbulot and Samy Baaroun leaves Dealer in a much more intense, chaotic, and even scary place. Refn did a much better job on the whole, but Herbulot could certainly pick up and make his own Pusher sequel, that’s how well executed this film comes off.
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With a few pieces I thought could’ve been fine tuned a little more, Dealer is still a 3.5 out of 5 star crime-thriller. Plenty of action, lots of the grime and grit we seem to expect these days from stories such as this, and on top of that the performances are full of energy, which matches the pace Herbulot and Baaroun set with their screenplay. You can certainly do a whole lot worse if you’re looking for a thrilling crime film to pass the time. Apparently the lead actor has experience in this sort of world, quoted as saying almost 70% of it is straight out of his own life. So that’s another wild aspect. Regardless, this holds excitement, brutality, and even the rare touching moment near the end. Dealer certainly keeps up the future of crime films, joining the ranks of Refn, Gerard Johnson and others who have depicted the criminal underbelly of the world in a highly stylized and intriguing fashion. I’ll be keeping Herbulot on my radar from now on. Hopefully he’ll follow up with something equally as impressive.