MORRIS MEN

Director
Gregg Masuak

Starring
Jamie Chambers
Eloise Lovell-Anderson
Ross O’Hennessy
Jon Campling

When former soldier, Tommy Martin [Chambers] returns to the secluded seaside town he grew up in, he’s struck by both unresolved issues and that the town itself has devolved into a crime-ridden landscape. All under the watchful eye of underworld kingpin Frankie Dean [O’Hennessy]. Reconnecting with his past lover, Sally [Lovell-Anderson], Tommy has to stand up, confront his demons, and make a difference.

I always issue a bit of a caveat whenever reviewing independent cinema. Namely that there will inevitably be constraints and limitations that audiences should look past to get to the heart of what could be a strong story and decent characterisation. Morris Men walks that dangerous knife edge, veering between earnest, well-told storytelling, and cliche schlock. Ultimately, the saving grave is that the initial premise presents a nice twist on the standard “naughty people operating in a run-down seaside town” tale. In fact, the whole underlying connection with Morris dancing, should be laughably stupid, but takes on a more brutal and sinister air – akin to to releases like Bait, Dead Man’s Shoes and The Wicker Man; although, regrettably, it never reaches those same heights.

To break down the three central technical components (i.e. audio, visual, and editing) each one suffers from its own self-imposed obstacle. The sound work is perfectly acceptable but the ambient background music and various needle drops never reach the peak of the films’ opening. What I initially thought was score work, evoking a very ethereal, desert-noir feeling, turned out to be a Raf Ratay track. Which is unfortunate because to take the grey bleakness of coastal Britain and underpin it with this deep, resonate could have created a nice juxtaposition throughout. For the most part, the camera work and cinematography are decent. And largely benefits when locked off, ultimately struggling when in motion. Again, a decision which emulates other similar releases but only serves to highlight technical limitations. And then there’s the editing. While the intended tone is supposed to jump back-and-forth and somewhat disorientate the audience, it’s still incredibly erratic. And the repeated bouncing around ends up significantly hampering the pacing. Meaning every time you get into the flow of the story, you’re then thrown off kilter. Which either implies it’s a badly handled job or someone has done the best they can to make the most of the footage they had. I wouldn’t be at all surprised if we see a future director’s cut or it’s repurposed into a short film or mini series.

In terms of performances, the cast do commendable work. The unusual thing is that there isn’t an exceptional amount of stillness: everything feels like it needs to be kinetic and emotionally dialled up. Subsequently, we don’t get as much range from the actors as they seem capable of. Which is a shame. The closest we get is Tommy’s emotional outpouring when confronting his past actions but, again, that’s still firmly within the narrow confines of what the script is allowing this character to be. Am I saying they’re two dimensional? Not exactly. But being a Nick Love style story of vigilantism and drug abuse, many of the plot points feel like they’re trying to tell a sincere story but are hamstrung by the tropes of this type of narrative. But, again, Chambers and Lovell-Anderson sell the ill-fated love story well, which is good because the film returns us to that thread multiple times and without that chemistry, it would have become very tedious, very quickly. And the live by the sword, die by the sword moral would have fallen flat.

It’s evident a great deal of effort has gone into this production but too many questionable choices have pushed it into a more generic release. As such, save a few standout moments, Morris Men ends up feeling all too familiar, and a far cry from what could be an earnest story. The problem is, to manufacture a sense of cool or grit, many creatives reach for a tried-and-tested toolbox that feels reliable but, in the end, will only sabotage what could have been a genuinely entertaining tale with a unique hook.

Release Date:
24 May 2024

The Scene To Look Out For:
At around the halfway point, Tommy and Sally are involved in a fight at an arcade that is probably one of the strongest examples of what Morris Men really wants to be. The action feels engaging without being clumsy or overly-staged and it doesn’t outstay its welcome. What’s more, the guitar score over the top eases the sound work and the whole sequence closes with a moral conflict between Sally and Tommy with them still at odds, seemingly unreachable and violent beyond repair. But that momentum simply isn’t sustainable for the duration, and then we’re dragged back to what feels like a very different movie with a sinister occult twist – which is the film I was somewhat more interested in seeing. Draw more from Kill List and less Kingsman, because the tone and setting aren’t gelling.

Notable Characters:
Whenever you’re creating an adversarial character, it’s easy to go too hammy and over the top. Obviously that’s because villains are more fun but they still have to be legitimately threatening and as believable as the protagonists. Thankfully, O’Hennessy has the right level of presence and menace to feel like a legitimate adversary.

Highlighted Quote:
“You will know my face because it’s gonna be the last thing you’re ever going to see.”

In A Few Words:
“An incredibly strong and unique premise that feels let down by tropes and trappings that the film feels obligated to showcase.”

Total Score: 2/5

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