WATCH THE TRAILER
First, the Recap:
Retirement. To never have to work again, or, at least that’s how it’s supposed to be in the ideal world, right? We’ve paid our dues, laboring to the best of our abilities for what seem like countless years (regardless of whether actually enjoying the employment or not, mind you) and then finally reach that much-lauded time when we can hang up our hats and call it a day on a permanent basis. Yet, what if such a time has eluded us and further servitude is required? Can we find the fortitude to stand up to new challenges and hard realities? For two aging hit men, Lucas (AG. Longhurst) and Albert (James Osborne), it is such a moment as, despite being used to working alone, both are called up one last time by their boss Tony Mac (Michael McKell) to clean up a mess now twenty years past. Along the way, it becomes more than just a series of hits, but rather a series of recollections about time and life.
Next, my Mind:
Delivered with the uniqueness of dark yet undeniably humorous British wit and what this critic deems their trademark tone and overall (playfully) unapologetic, unflinching atmosphere they create within crime-based genre efforts, this 103-minute feature from director/producer/editor Darren S. Cook along with writer/producers AG. Longhurst and Robert Putt is an all-encompassing triumph of character and narrative-driven independent cinema on every level, providing both an entertaining romp while likewise addressing an entire kaleidoscope of thematic explorations associated with aging and its equally cascading effects on us as human beings when we’re faced with the truth of, well, we ARE too old for this s#$%. What’s genius about the film is that it can manifest such a world of varying emotions and evocative notions without feeling bogged down by talking heads or overtly forced gravitas. It simply speaks with uncomplicated, purposeful intent.
In providing us a story about getting old from the perspective of the last kind of people we would actually think REACH such a place in their lives, it lends itself to beautifully hysterical then poignantly stirring sequences of dialogue between the two men that so deftly illustrates how utterly different they are beyond a mutually shared boss and profession in his service. It’s a wonderfully astute dichotomy portrayed, with one of them blatantly attempting to grasp onto a more “youthful”, carefree, and subsequently juvenile, attitude that exudes an obsession with sex, possible racist mentalities, and digestive issues while the other is a total study in acceptance of reality and sticking to routines that are straightforward and to the point, both in the context of existence and the current job they’re now paired up to do. Watching these dueling demeanors is, again, a total riot more often than not, but also meaningful when they manage a serious conversation now and again. Plus, there’s the black & white cinematography here that just–emotionally enhances–the feel of what’s being depicted to a whole other dimension that’s hard for me to describe and easier when you watch the project.
Whether seeing becoming older as an embittered diatribe towards life or just a part of our mortal paths we’re meant to have in the span of a greater eternity, the film also has a magnificently intelligent whimsy when also allowing the two cantankerous hired guns to flesh out other topics involved, ranging from tardiness, mental and physical exhaustion, having “to go” much more, pensions, and short tempers while also striving to give specific indications that one or both of them battle the entire concept of what they are still doing as a living, realizing old friends are involved, experiencing possible hesitations about it all, and also knowing that all their combined experience will ultimately maintain one hugely important lesson–demonstrated loyalty and commitment, at least in certain scenarios, can only take you so far. How all of this plays out is highly affecting and deeply effective in witnessing these two characters in their entirety, and leads to a finale that is definitively impactful given the journey the men have endured. It almost makes this a road trip tale, but the crime aspects of the narrative still dominate all the underlying aspirations the film has in store.
I am only now becoming familiar with Longhurst (having only seen him in a relatively brief appearance in the recently reviewed “The Haunted Hotel“), and let me say, this film was a tour-de-force of acting wonder for me to see him play out in his role as Lucas, a older man wanting to put off aging and live younger as much as possible, even though his body especially desires to remind him this may just not be allowable. His more cavalier disposition towards everything more than makes him happy, but tends to rub his counterpart the wrong way more often than not, which brings about plenty of laughs for us as the viewer. Yet, as we dive further into Lucas’ past and his thoughts about more serious things come about, we realize that he DOES have a heart, legitimate interests, and a grounded sense of life, but again, chooses to shut it off when working and then perhaps cover up his vulnerabilities with the joking and casual nonsensical bantering. It’s a brilliant performance and speaks so well to just how indie film allows such nuanced and bold development of characters, with Longhurst certainly relishing it fully and backing it up with no lack of entertaining and, dare I say, charming bravado.
Likewise, this is also my very first time seeing Osborne in action, and his embodiment of the more subdued of the pair is no less engaging and wholly filled with a slow burn intensity that smolders beneath the surface through his portrayal of Albert, the other half of a hitman duo assigned by their long-standing boss to clean up the loose ends of a job gone wrong countless years ago. One hundred percent centered on doing the job to the best of his ability and with as little fuss as possible, being teamed up with Lucas is less than Albert’s ideal circumstance, and his trying to get used to his new partner’s often outrageous quips and jesting almost doesn’t seem like it will happen. But, once Lucas demonstrates his resolve to do his duty (even while also doing his, er, doody? Watch the film, folks), Albert finds himself opening up to him and soon, they form a bond of brotherhood that’s quite unshakable. Still, Albert’s own ghosts haunt him, and we see how this drives him inwardly, even when not speaking of it outwardly but for mere moments. It’s fantastically executed performance that captures the essence of a man facing his age, and Osborne presents it all with poise and acting prowess throughout.
Supporting roles are plenty here, arriving from McKell as the men’s boss Tony Mac, a perfectly ominous figure who in his quick amount of screen time more than makes an appropriately eerie impression, John Altman, Sidney Kean, Sidney Livingstone, Kim Taylforth, and Paul King play key players from the men’s past, Cassandra French appears as Lizzie, a dalliance for Lucas when he’s in town, and Gloria Price is Rose, an embittered woman (for good reason!) involved in Albert’s life. Additional appearances are made by Robert Walters, Claudia Grace Mckell, James Pickering, Anna Peace, Bethany Linell and others. So, in total, with its moody jocularity tempered to the perfect degree by the smartly-written and well-directed crime film foundation and very engaging musical score and song choices, “Lucas and Albert” is a highly worthy indie film that isn’t afraid to expose, explore, and exploit the truths about growing old while immersing us in a very human tale about two men encountering their age in a context both humorous and humbling. It’s easy to see why this was a National Award Winner, and it’s high time to treat yourself to a viewing and find out exactly why yourselves. While facing the reality of mortality, of course. Right?
As always, this is all for your consideration and comment. Until next time, thank you for reading!
