London to Brighton.

"A slice of social realism, a wedge of naturalism, a symbolically freighted fairy tale - at times, London to Brighton feels like all of these combined, which, before it all turns to mush, gives the film the aspect of a fascinating and ambitious pastiche" writes Manohla Dargis in the New York Times. "There's something provocative about [Paul Andrew] Williams's attempt to join together so many conflicting, contradictory influences, even if in the end they manage only to cancel one another out."

"I wish I could tell you what moved Williams to make London to Brighton, but the truth is that I don't have the slightest idea," writes Jürgen Fauth. "The film masquerades as grim social realism but contains too many genre beats to convince."

"LTB offers a fresh (if grimy) contribution to kitchen-sink realism, but little to the tiresome persistence of vicious British gangster chic," writes Nathan Lee in the Voice.

For IFC News, Aaron Hillis talks with Williams, who tells him, "the fact is, 99-point-whatever percent of Americans are not going to see this film. I think it's the sort of film you would have to want to go see rather than, you know, go with your girlfriend on a date and say, 'Actually, let's go see this tiny little British film about pedophilia and gangsters and killing.'"

For Filmmaker, Nick Dawson talks with Williams "about his instinctive approach to directing, British gangster films, and his decision to quit as director of Wild Things 3."

Posted by dwhudson at February 8, 2008 2:44 PM