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Reviews"Classy British caper flick...funny script, multiple twists and if that's not enough for you it stars Kate Ashfield from SHAUN OF THE DEAD."
"Owing crime boss Foster Wright £50,000, Nick Edwards
(Rhys) discovers a painting that has long been thought to be a
mere legend.
With some willing consporators, he forms a plan to make copies
of it and sell it to five unsuspecting galleries before he's rumbled. “Nicely-made British art caper film Fakers features engaging performances by Matthew Rhys and Kate Ashfield. Modest but enjoyable.”
“This British crime caper is no masterpiece, but it’s not a Lock, Stock forgery either. Rhys and Kate Ashfield make for likeable leads, while debut director Richard Janes keeps the story tight.”
"smooth, slick, fast-moving... Thomas Crown Affair meets Lock, Stock." Front Magazine "A jolly, high tempo romp through the underworld of London's
gangs and art world. This snappy production... coupling the excitement
of a heist movie with the charm of an affable British cast." "Best bit: An Italian Job style car chase with smart cars
in a London market." "...divertingly entertaining 60s-style escapade." Time Out “Sparky British caper in which feckless Nick (the always good Matthew Rhys) masterminds an emergency art forgery to pay off his debts.” The Daily Telegraph “Fakers is well acted, with enough danger and desire to drive it along.” The Sun "Lively Brit flick caper." Listed in top 10 films: New “Fakers establishes its sly, subversive tone early on. Urbane gangster Foster Wright has summoned confidence trickster Nick Edwards to his plush London townhouse to recall a £50,000 debt. Not that he needs the money: “it’s all about appearances,” he explains, before launching into a pretentious speech about the theory of art. Nick interrupts Wright to correct him on a point of substance and receives a beating for his trouble. “Wright (an amusingly tongue-in-cheek Art Malik) is the epitome of gangster chic. Dressed in a lurid orange suit and purple shirt and tie, he looks as if he has strutted out of a Guy Ritchie film. But Fakers has little in common with the stylised posturing of Lock, Stock and Two Smoking Barrels (1998) and Snatch (2000). Like the soberly-clad Nick, it is more discreet and knowing. True to the tradition of the crime caper movie, the plot centres on an elaborate scam, here involving art forgery. In a sequence clearly inspired by The Italian Job (1969), Nick and his accomplice Eve race through the streets of London in a Smart Car. “An Italian theme runs through the film. The prologue, set in Sicily in 1911, depicts a village that bears more than a passing resemblance to the Corleone of The Godfather (1972), even if the light, tripping score that accompanies the village Don and his henchmen establishes an unexpectedly comic tone at odds with their activities. “The streets of London also bristle with an air of menace.
But the combination of scriptwriter Paul Gerstenberger’s
careful plotting and Adam Green’s dextrous editing keeps
the violence out of sight, if not altogether out of mind. First-time
director Richard Janes wisely downplays the romance, too. Where
the disappointing Shooting Fish (1997) attempted to crowbar a love
story into a crime caper, Fakers is more subtle and playful. The
burgeoning relationship between Nick and Eve seems entirely predictable,
but then Eve absconds with the profits from the scam leaving Nick
a Post-It note that reads ‘Still love me now?’ In the
final scene, it remains unclear whether her blank postcard from
Sicily is an invitation or a not-so-fond farewell.” |
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