These East End/Essex Boy hooligan films are more comedy than anything. They're always over acted, expletives for the sake of expletives and always seem to give off the impression that the whole of that area is filled 'wif gangstahs, innit'.
If you've seen one, you've seen them all. Same characters, pretty much the same scripts and they all come across as hard as a melted marshmallow.
7 Reviews
Starts well then rapidly goes downhill
stevejturnbull12 June 2018
Warning: Spoilers
The film starts positively with real purpose however as soon as the robbery is over it all goes wrong.
Laughable plot , mediocre acting, boring editing and huge plot holes. If someone was going to grass why not report the murder rather than robbery and assault?
Laughable plot , mediocre acting, boring editing and huge plot holes. If someone was going to grass why not report the murder rather than robbery and assault?
Barrel-scraping British crime
Leofwine_draca19 April 2018
Warning: Spoilers
HOOLIGAN LEGACY is another barrel-scraping British crime film which never should have been made in the first place. It starts off on a mildly promising note before descending into cliche and nonsense, seemingly written on the fly. A group of friends are involved in a football stadium robbery and one of them goes to prison, only to come out years later gunning for revenge. There are one too many laughable moments here, including a one-punch random death and plenty of wooden acting from the supporting cast. The script quickly descends into inanity, full of effing and blinding and no kind of sense at all.
Strangely awkward
carlx12321 July 2016
I really enjoyed the opening minutes of Hooligan Legacy, and i really thought just for a moment that this was going to be the Hooligan film that mattered. But after the football club raid it all went wrong.
The ideas were there, but the delivery was all wrong.
awkward moments
1) Terry Dwyer just randomly standing on the right of the screen while the main character talks to a junkie former friend.
2) "hero" punches woman in the face killing her instantly
3) The terrible fire, with about as much emotion as a breaking of wind.
4) Lack of ending, as the film ends on a whimper not a bang.
5) Unexplained everything.
The acting is good for the majority, but the story and delivery are just diabolical. There is no feeling of any emotion at any point through the film, would could be maturely and cleverly handled is dealt with in a very petty and insignificant manner.
This could have been a contender, but sadly not.
The ideas were there, but the delivery was all wrong.
awkward moments
1) Terry Dwyer just randomly standing on the right of the screen while the main character talks to a junkie former friend.
2) "hero" punches woman in the face killing her instantly
3) The terrible fire, with about as much emotion as a breaking of wind.
4) Lack of ending, as the film ends on a whimper not a bang.
5) Unexplained everything.
The acting is good for the majority, but the story and delivery are just diabolical. There is no feeling of any emotion at any point through the film, would could be maturely and cleverly handled is dealt with in a very petty and insignificant manner.
This could have been a contender, but sadly not.
Slick, Competent, just only slightly lazy
daniel-mannouch26 September 2016
Warning: Spoilers
Hooligan Legacy is another example of the current 'Hooligangster' phase of the hooligan genre that is a refreshingly individual, if flawed, work.
Though it would be nice for a film with the word Hooligan in the title to be about hooliganism for a change, what is delivered here, like other 'Hooligangster' joints, is not exactly the antithesis. The rhetoric between these 'Footsoldiers' is convincing and faithful to the genre Legacy rents out, as is the malicious and distinctly un- American violence throughout. If anything, Legacy's aptly judged adoption of the Hooligan shows up more of the creative bankruptcy of British film distributors rather than that of the filmmakers. Don't get me wrong, there are some right androids out there making images move in this arena (Near anyone from the Press On Illuminati), but director Nicholas Winter and writer Terry Lee Coker, so far, are not part of such company.
What Legacy really is at it's core is a surprisingly atmospheric splice of Jacobean revenge and Michael Mann's Heat all wrapped up in a comfortably proved blanket of 'boot boy' posing an' pushing. The stadium siege does gangbusters in upping the production value, near textbook perfect as to how to make micro budget look mid. The wide tracking shots upon the football pitch really are something. But unfortunately, they do go a way towards dwarfing the rest of the picture. Whilst there is a diversity of locations, the look of Legacy does slip into that tired and inappropriate kitchen sink drama 'brick and mortar' mode more than once. Noticeable, but not painful, as for the most part, Legacy does a fine job of hiding the production's fiscal limitations.
Seriously, I really haven't seen a micro budget British genre film look so slick since Stephen Reynolds' Vendetta (2013). It's quite fitting for this 'hooligangster' phase of the genre with it's shameless Hollywood aping, relying on establishment aesthetics and story lines as a way to vie for space in the ever increasingly competitive market of home cinema.
As you could tell by now though, the story is not really that interesting as i have chosen more to harp on the film's impressive cinematography. It's not an inept script though, just simple, near stubbornly at that. The lushness of the visuals would suggest a deeper story as such attention is usually reserved for art-house works, but no, a short paint-by-numbers revenge tragedy.
As such, the performances should pack a punch, which most do not unfortunately. There are some highlights such as the gun vendor scene and the fleshed out back and fourth dynamic between 'hero' and 'villain', leading to an abrupt ending, not (unsurprisingly) like Hyena (2014), that whilst not near as rich in emotion as in Johnson's instant classic, was still deserved.
I liked Hooligan Legacy, and you should too if you are a fan of either the hooligan or gangland genre or if you are just interested in moody genre pictures in general. It contains just enough of the spirit of the Hooligan genre to justify it's namesake. However, just going by the trailer, it's no surprise that it veers more into crime thriller territory.
What a depressing scene British genre film finds itself in. Genre film appreciation has always been a case of too little, too late i understand, but i guess just because it's so close to home that I find myself especially irked. The expectations remain low and the demand is shrinking. Film's like Legacy give me hope for a thriving populism in British cinema where domestic audiences would be actually excited to see domestic products. However, Hollywood beckons always for any talent with at least a lick of universal appeal. Is the domestic "industry" too gated? Is it too secular? Who knows. All i know for sure is that these films, ready, willing and commercial, are not part of the established mode of filmmaking in this country (they're practically counter-culture!) and that is a serious problem.
The "industry's" priorities are on art and not commerce at a time when cinema's relevance in pop culture relies almost solely on revenue. Hooligan Legacy seems to be one of only a handful of films being made in this country in the 21st century, and for that, let alone it's apt tone, gorgeous visuals, and at times assured direction, makes it an admirable feat of filmmaking when it really should just be impressive.
Though it would be nice for a film with the word Hooligan in the title to be about hooliganism for a change, what is delivered here, like other 'Hooligangster' joints, is not exactly the antithesis. The rhetoric between these 'Footsoldiers' is convincing and faithful to the genre Legacy rents out, as is the malicious and distinctly un- American violence throughout. If anything, Legacy's aptly judged adoption of the Hooligan shows up more of the creative bankruptcy of British film distributors rather than that of the filmmakers. Don't get me wrong, there are some right androids out there making images move in this arena (Near anyone from the Press On Illuminati), but director Nicholas Winter and writer Terry Lee Coker, so far, are not part of such company.
What Legacy really is at it's core is a surprisingly atmospheric splice of Jacobean revenge and Michael Mann's Heat all wrapped up in a comfortably proved blanket of 'boot boy' posing an' pushing. The stadium siege does gangbusters in upping the production value, near textbook perfect as to how to make micro budget look mid. The wide tracking shots upon the football pitch really are something. But unfortunately, they do go a way towards dwarfing the rest of the picture. Whilst there is a diversity of locations, the look of Legacy does slip into that tired and inappropriate kitchen sink drama 'brick and mortar' mode more than once. Noticeable, but not painful, as for the most part, Legacy does a fine job of hiding the production's fiscal limitations.
Seriously, I really haven't seen a micro budget British genre film look so slick since Stephen Reynolds' Vendetta (2013). It's quite fitting for this 'hooligangster' phase of the genre with it's shameless Hollywood aping, relying on establishment aesthetics and story lines as a way to vie for space in the ever increasingly competitive market of home cinema.
As you could tell by now though, the story is not really that interesting as i have chosen more to harp on the film's impressive cinematography. It's not an inept script though, just simple, near stubbornly at that. The lushness of the visuals would suggest a deeper story as such attention is usually reserved for art-house works, but no, a short paint-by-numbers revenge tragedy.
As such, the performances should pack a punch, which most do not unfortunately. There are some highlights such as the gun vendor scene and the fleshed out back and fourth dynamic between 'hero' and 'villain', leading to an abrupt ending, not (unsurprisingly) like Hyena (2014), that whilst not near as rich in emotion as in Johnson's instant classic, was still deserved.
I liked Hooligan Legacy, and you should too if you are a fan of either the hooligan or gangland genre or if you are just interested in moody genre pictures in general. It contains just enough of the spirit of the Hooligan genre to justify it's namesake. However, just going by the trailer, it's no surprise that it veers more into crime thriller territory.
What a depressing scene British genre film finds itself in. Genre film appreciation has always been a case of too little, too late i understand, but i guess just because it's so close to home that I find myself especially irked. The expectations remain low and the demand is shrinking. Film's like Legacy give me hope for a thriving populism in British cinema where domestic audiences would be actually excited to see domestic products. However, Hollywood beckons always for any talent with at least a lick of universal appeal. Is the domestic "industry" too gated? Is it too secular? Who knows. All i know for sure is that these films, ready, willing and commercial, are not part of the established mode of filmmaking in this country (they're practically counter-culture!) and that is a serious problem.
The "industry's" priorities are on art and not commerce at a time when cinema's relevance in pop culture relies almost solely on revenue. Hooligan Legacy seems to be one of only a handful of films being made in this country in the 21st century, and for that, let alone it's apt tone, gorgeous visuals, and at times assured direction, makes it an admirable feat of filmmaking when it really should just be impressive.
Enjoyable & Entertaining
teefenn30 April 2017
Warning: Spoilers
I always enjoy revenge films, provided they don't stray too far from the bounds of realism, and this was mostly realistic. I don't care about 'art', I just want to be entertained and the acting and screen play were good enough.
Where it did become unrealistic was during the murder of Jimmy's wife and kid. I can accept that Ronnie, being an utter psychopath, would commit such a heinous act without a second's hesitation but would he really be able to find half a dozen accomplices willing to assist in the casual burning alive of a woman and child? Not unless there's a psychopath on every street in England, in which case we're all doomed.
Where it did become unrealistic was during the murder of Jimmy's wife and kid. I can accept that Ronnie, being an utter psychopath, would commit such a heinous act without a second's hesitation but would he really be able to find half a dozen accomplices willing to assist in the casual burning alive of a woman and child? Not unless there's a psychopath on every street in England, in which case we're all doomed.
Terri Dwyer's acting at the end
sallyhastingsscam24 February 2017
Warning: Spoilers
BEWARE SPOILER
Terri Dwyer plays the wife of the protagonist.
Her main scene in the film is near the end, during a rather gruesome scene, Terri is bound and gagged with black tape against a wall and makes it very clear by trying to scream to attract attention but her sounds are muffled through the tape
Although she is told that she will not be heard, the black tape used to gag her may have been added to represent the 'damsel in distress' role that she was playing as that is quite common to 'gag a damsel' to 'shut her up' and to show that the antagonist is rather arrogant as it comes across that the only reason he gagged her, was because he didn't want to hear her voice and not to keep her from attracting attention which is what it is usually used for.
Terri plays this role quite well (especially at the end of the film) where you really do feel for her when kidnapped and then seen bound and gagged. She controls her pace very well as for example, she is mostly struggling frantically and trying to scream but when she is being talked to directly she slows it down and becomes silent creating a more intense and suspenseful feel as she is staring right into the protagonists eyes and stops struggling/stops trying to talk through the gag that is over her mouth or when a football is being kicked at her she whimpers next to the wall.
However, there are some downsides to the acting here. I feel that she was put in the correct position as she was not completely held down by her bonds so she could still struggle a lot giving the viewer a bit of hope meaning that she could possibly get out, but I feel as if the tape over her mouth should have been I guess 'over her mouth more' as you can make out kind of clearly what Terri was saying when she was screaming and I think that if you couldn't hear her words as well, it would make the scene more intense and make the antagonist look more arrogant as he would have silenced her completely, so when she did try to scream/talk in the movie, it would be more muffled meaning people would probably try to make out what she was saying and feel her desperateness a lot more.
Shortly after this Terri has gasoline tipped over her, while she is still bound and gagged and she continues to struggle and let out muffled screams more frantically. When the gasoline is lit on fire, there is a side view so that you can only see the flames and the antagonist and the only thing from Terri you can hear is the muffle screams coming taped mouth. These fade implying that she has been killed.
Terri Dwyer plays the wife of the protagonist.
Her main scene in the film is near the end, during a rather gruesome scene, Terri is bound and gagged with black tape against a wall and makes it very clear by trying to scream to attract attention but her sounds are muffled through the tape
Although she is told that she will not be heard, the black tape used to gag her may have been added to represent the 'damsel in distress' role that she was playing as that is quite common to 'gag a damsel' to 'shut her up' and to show that the antagonist is rather arrogant as it comes across that the only reason he gagged her, was because he didn't want to hear her voice and not to keep her from attracting attention which is what it is usually used for.
Terri plays this role quite well (especially at the end of the film) where you really do feel for her when kidnapped and then seen bound and gagged. She controls her pace very well as for example, she is mostly struggling frantically and trying to scream but when she is being talked to directly she slows it down and becomes silent creating a more intense and suspenseful feel as she is staring right into the protagonists eyes and stops struggling/stops trying to talk through the gag that is over her mouth or when a football is being kicked at her she whimpers next to the wall.
However, there are some downsides to the acting here. I feel that she was put in the correct position as she was not completely held down by her bonds so she could still struggle a lot giving the viewer a bit of hope meaning that she could possibly get out, but I feel as if the tape over her mouth should have been I guess 'over her mouth more' as you can make out kind of clearly what Terri was saying when she was screaming and I think that if you couldn't hear her words as well, it would make the scene more intense and make the antagonist look more arrogant as he would have silenced her completely, so when she did try to scream/talk in the movie, it would be more muffled meaning people would probably try to make out what she was saying and feel her desperateness a lot more.
Shortly after this Terri has gasoline tipped over her, while she is still bound and gagged and she continues to struggle and let out muffled screams more frantically. When the gasoline is lit on fire, there is a side view so that you can only see the flames and the antagonist and the only thing from Terri you can hear is the muffle screams coming taped mouth. These fade implying that she has been killed.
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