With its controversial subject matter, Boy A, is likely to be restricted to an art-house release, which is a shame, as it is one of the more challenging and provocative independent British productions of this decade.
With his role as the eponymous 'Boy A' now known as Jack - Andrew Garfield establishes himself as a star for the future (and as 'Lions for Lambs' is likely to be released before 'Boy A', he may already be by the time it comes out). His subtle and moving role as the child murderer released after a youth spent in institutions, captures both the wide-eyed innocence and the dark and guilty conscience that Jack carries with him.
When Jack is released from prison, with a necessary new identity, his counsellor Terry (Peter Mullan as a convincingly flawed mentor), believes so fully in his right to redemption, you can see Jack wanting and willing to believe him. But as the movie unfolds, Jack's doubts continue to arise, as through a series of episodes (drug use, a fight, trespassing) he finds it impossible to escape from his criminal past, despite a heroic rescue of a young girl trapped in a crashed car.
This particular contradiction (saving a life, where he once took one) seems to offer salvation, and a relationship with a co-worker Michelle (Katie Lyons in her first film role) teaches him that the world can offer a life of love. But the jealousy of Terry's son for his father's attention eventually pulls Jack's world apart, and as he tried to flee the chasing hounds of the tabloid press, he has to make a choice about his new life.
Never judgemental, John Crowley's direction delicately retells the original crime in the form of flashbacks, slowly unveiling how Jack reached this point. Ultimately, this is a film that questions our accepted beliefs about what is good or bad, about crime and punishment, innocence and guilt. 'Boy A' is a fine film that deserves a larger audience than it will probably ever receive.
With his role as the eponymous 'Boy A' now known as Jack - Andrew Garfield establishes himself as a star for the future (and as 'Lions for Lambs' is likely to be released before 'Boy A', he may already be by the time it comes out). His subtle and moving role as the child murderer released after a youth spent in institutions, captures both the wide-eyed innocence and the dark and guilty conscience that Jack carries with him.
When Jack is released from prison, with a necessary new identity, his counsellor Terry (Peter Mullan as a convincingly flawed mentor), believes so fully in his right to redemption, you can see Jack wanting and willing to believe him. But as the movie unfolds, Jack's doubts continue to arise, as through a series of episodes (drug use, a fight, trespassing) he finds it impossible to escape from his criminal past, despite a heroic rescue of a young girl trapped in a crashed car.
This particular contradiction (saving a life, where he once took one) seems to offer salvation, and a relationship with a co-worker Michelle (Katie Lyons in her first film role) teaches him that the world can offer a life of love. But the jealousy of Terry's son for his father's attention eventually pulls Jack's world apart, and as he tried to flee the chasing hounds of the tabloid press, he has to make a choice about his new life.
Never judgemental, John Crowley's direction delicately retells the original crime in the form of flashbacks, slowly unveiling how Jack reached this point. Ultimately, this is a film that questions our accepted beliefs about what is good or bad, about crime and punishment, innocence and guilt. 'Boy A' is a fine film that deserves a larger audience than it will probably ever receive.
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