Take television comedy actors Reece Shearsmith ("The League of Gentlemen"), Steve O'Donnell (Kevin and Perry Go Large 2000) one movie star Andy Serkis (The Lord of The Rings 2001 - 2003) and director and writer Paul Andrew Williams (London to Brighton 2006) and we have a very fresh faced English comedy based on stupidity, desperation and gruesome death.
A stylised horror with added humour and foul language to boot, this is comedy via a witless tribe of incompetents and amateurish plans to make some easy money. A charming story of two brothers (Shearsmith and Serkis) hiding out in a remote cottage, while their kidnapped victims London gangland boss pays off a one hundred thousand pound ransom for feisty daughter Tracey (Jennifer Ellison). Of course, thing do not go according to plan.
Funded by the UK Film Council and Screen Yorkshire this is horror most horrible, set with some fine colouring by cinematographer Christopher Ross (London to Brighton 2006), the Isle of Man and Yorkshire night time countryside has never looked so tense, suspenseful and dangerous. Then there is the wit of the script that takes its own form, with the added help of clueless kidnappers and Oriental thugs this script is the key core that propels the film forward to a festival of comedy and extreme hilarity, mixed with it murders most foul. Even if the outlaying plot does seem a tad familiar, it can be very much forgiven. The Cottage from the start has been given its own blend of ghastly misfortunes, its own characteristics that set it apart from the rest, like a Carry On gone wrong, The Cottage has built its reputation on a backbone of British humour that always hit's the right spot for the right reasons.
While nothing new to report in overall originality The Cottage is well prepared to take the risk of not pampering to the allure of the teenage cinema market, due respect to its bravery in having the 18 certificate upon it. In addition, with this adult tag comes adult humour and extreme adult violence. There is no compromise with what The Cottage holds within its rafters and with the horrors of it all it really does seem a change from the norm and to see fresh meat, and blood, injected and dissected, into a British film as The Cottage is only a step in the right direction for British Cinema, I'm moving in as soon a possible.
A stylised horror with added humour and foul language to boot, this is comedy via a witless tribe of incompetents and amateurish plans to make some easy money. A charming story of two brothers (Shearsmith and Serkis) hiding out in a remote cottage, while their kidnapped victims London gangland boss pays off a one hundred thousand pound ransom for feisty daughter Tracey (Jennifer Ellison). Of course, thing do not go according to plan.
Funded by the UK Film Council and Screen Yorkshire this is horror most horrible, set with some fine colouring by cinematographer Christopher Ross (London to Brighton 2006), the Isle of Man and Yorkshire night time countryside has never looked so tense, suspenseful and dangerous. Then there is the wit of the script that takes its own form, with the added help of clueless kidnappers and Oriental thugs this script is the key core that propels the film forward to a festival of comedy and extreme hilarity, mixed with it murders most foul. Even if the outlaying plot does seem a tad familiar, it can be very much forgiven. The Cottage from the start has been given its own blend of ghastly misfortunes, its own characteristics that set it apart from the rest, like a Carry On gone wrong, The Cottage has built its reputation on a backbone of British humour that always hit's the right spot for the right reasons.
While nothing new to report in overall originality The Cottage is well prepared to take the risk of not pampering to the allure of the teenage cinema market, due respect to its bravery in having the 18 certificate upon it. In addition, with this adult tag comes adult humour and extreme adult violence. There is no compromise with what The Cottage holds within its rafters and with the horrors of it all it really does seem a change from the norm and to see fresh meat, and blood, injected and dissected, into a British film as The Cottage is only a step in the right direction for British Cinema, I'm moving in as soon a possible.