Wild Bill Review

Director: Dexter Fletcher

Cast: Charlie Creed-Miles, Will Poulter, Liz White, Sammy Williams, Leo Gregory, Olivia Williams, Jaime Winstone and Andy Serkis

Running Time: 98 minutes

Certificate: 15

Synopsis: After being released on parole after 8 years inside, Bill Hayward (Creed-Miles) returns home to find his two sons fending for themselves. Unwilling to change, and detested by his sons, Bill makes plans to move on, but when the social services threaten to intervene, Bill is blackmailed into playing ‘Dad’ for a while. As Bill starts to appreciate what he’s been missing, his dark past resurfaces and he is forced to make an impossible decision…

Dexter Fletcher’s directorial debut is an existential western that begins with the obligatory low angle shot of the titular character, Bill Hayward, exiting prison. If you were to stop watching at this point, you may be fooled into thinking his chosen style for WILD BILL – which he co-wrote with Danny King – is suspiciously similar to that of the slick action sequences and choppy editing Guy Ritchie regularly sports; Ritchie, of course, directed Fletcher in LOCK, STOCK AND TWO SMOKING BARRELS. However, as the story progresses, it becomes clear that this is not the case, and that, on the contrary, Fletcher has orchestrated a thoroughly enjoyable, emotional and character-driven piece.

Whilst he may not utilise any groundbreaking material or overly stylised and daring action set pieces, what he does do is arguably more effective. He gives us a painstakingly detailed inside look at a struggling working class family, in a way that is realistic and gritty, but not whingy or defeatist. Instead, there are many refined moments of black humour, deriving from the characters, and the dire circumstances they find themselves in. Furthermore, the constantly evolving relationships between Bill, Dean, Jimmy, and Roxy (the down-and-out prostitute with a heart of gold) are well paced and engrossing. As their story progresses, it gradually and delicately peels away layers of the characters, revealing their innermost workings, which, as this is somewhat of a rarity in modern cinema, makes it all the more satisfying for the audience.

An actor-turned-director can often produce some of the most powerful performances from our beloved thespians, and this certainly rings true in this instance. Youngsters, Sammy Williams (ATTACK THE BLOCK) and Will Poulter (SON OF RAMBOW), fly the flag for young British acting talent, and should have bright futures ahead of them, however, Charlie Creed-Miles (ESSEX BOYS) steals the show with his portrayal of Bill. His subtle, but efficiently controlled mannerisms, occasionally build to give way to outbursts of genuinely terrifying, traumatic or melancholic emotions, that leave you feeling like you have gone to hell and back with this character.

Fletcher has every right to be proud of WILD BILL, as it is an example of what can be achieved by the British film industry and its filmmakers, if we give it the support it so desperately needs. Aesthetically speaking, it is far from grandiose (which suits the themes and tone of the film), but the story, as well as performances from the likes of Creed-Miles, Poulter and Williams render this an inspiring effort. If that wasn’t enough, an impressive and diverse supporting cast, including, Olivia Williams (AN EDUCATION), Leo Gregory (GREEN STREET) and an hilarious turn from Andy Serkis (THE LORD OF THE RINGS TRILOGY) as the integral, but seldom seen antagonist, Glen, enhances the experience even further.

   WILD BILL is released in UK cinemas 23rd March