Director: Reg Traviss.
Cast: 
.
Certificate: 15
Running Time: 112 minutes
Synopsis: Two brothers go down different paths, as one focuses on his graffiti art, while the other leads a smash and grab diamond heist operation.
ANTI-SOCIAL is certainly one of those words that we’ve heard more and more of over the last decade. It’s gone from a simple term of describing those who don’t socialise to a rather coy euphemism of the school report variety to describe criminal behaviour. It’s a very apt title for this impressive British crime (or should that be ‘Anti-Social’?) flick, as it deals with crime in different ways as well as being ripped straight from the headlines. Even in the time between attending the screening and writing this review, there have been more smash and grab jewellery heists.
Focusing on two brothers, Dee (Sulkin) is a talented artist who favours the graffiti form of expression. Meanwhile his older brother, Marcus (Myers), leads a gang of motorcycle thugs who target finer establishments. Both of these narrative arcs also contain social commentary – not always subtle – as we see Dee gradually nurtured by the art world, while also having to evade the law while Marcus may wish to justify his crimes by only targeting those luxuriant types. Whether either can excused in part or completely will come down to individual viewers, but what ANTI-SOCIAL does right is to recreate the adrenaline from such behaviour, while also warning against repercussions and the moral dilemmas that follow.
The film is best when simplifying itself down and allowing action to dictate the pace. The heist sequences are always entertaining and filled with tension, and although the social commentary is admirable, it can sometimes be laboured. This is no more evident than when Dee becomes involved in artistic and philosophical musings. The change in dialogue from Eastend gangland and aggressive but friendly colloquialisms, to something from a University lecture is jarring and feels very unnatural. It makes it harder to connect with Dee when even he doesn’t sound convinced via Sulkin’s delivery. Luckily actions speak louder than words, and Sulkin perfectly captures the cheeky but expressive moments while carrying out the art.
Traviss, whose youthful yet eclectic career has encompassed everything from WWII tales to serial killer films, certainly has an eye and ear for constructing a sequence when in movement. The motorcycle/car chases feel expansive even though I’m sure the budget and filming locales were limited. Also extensive is the sheer level of camaraderie between characters, and the need for something more. The dialogue may not always convince, but all these worlds feel very connected, which adds to the idea that it is not impossible to remove oneself from more negative ways of life. Also refreshing is the support characters show, with Dee’s brother encouraging him with his art, rather than the usual guilt tripping into the family way of life.
ANTI-SOCIAL manages to tick all the boxes we have come to expect from British crime thrillers, but it also does a lot more. Its reach may exceed its grasp, but it always comes across as genuine and caring. Traviss’ work does want us to look at the world around us and ask questions, even if it isn’t always that articulate. ANTI-SOCIAL is a gripping viewing experience that mixes crime and heist formulas with a genuine social commentary. Likable characters propel a plot that is very of-the-moment beyond that of many of its big budget contemporaries.
ANTI-SOCIAL is released on May 1st.
