Tony (18.)
Directed by Gerald Johnson.
Starring Peter Ferdinando, Ricky Grover, Kerry Ann White, George Russo, Francis Pope, Lorenzo Camporese. 78 mins
Tony (Ferdinando) is a lonely dullard who looks a bit like Trotsky and just can’t seem to make friends. He could be a recurring cast member of a John Sullivan sitcom, except he kills people.
It’s not acknowledged but the character of Tony seems clearly based on Denis Nielson, or at the very least inspired by the title of Brian Master’s classic book on Nielsen, Killing For Company. Tony wanders the London street desperately trying to strike up connections with people but on the rare occasions that someone enters his world he usual finds he cant cope with them and murders them.
The serial killer black comedy is usually best avoided but this is unexpectedly good. The comedy is never forced but arises naturally from the situation. Unlike other acclaimed serial killer films such as Man Bites Dog or Henry: Portrait of a Serial Killer, Tony is a credible and uncharismatic figure. This is the mundanity of evil – repetitive, dull and grim.
It’s also a very good London film. Johnson has a real gift for getting the most unflattering angle possible. Whether it’s in the West End or stalking the streets of Dalston the film captures the sense of London as a sardine can of solitude, all these lonely people crammed in on top of each other.
Unloved and ignored, Tony the film is likely to suffer the same fate as Tony the man. It’s done the tour of horror festivals, where it was mostly shunned, probably because although it has enough bad language and drug taking to get an 18 certificate, it’s not very violent. That’s a wise move for a film that accepts movies do influence behaviour (Tony’s only hobby is watching violent action movies.) There’s very little to copycat here.
Hyena review
Tony (18.)
Directed by Gerald Johnson.
Starring Peter Ferdinando, Ricky Grover, Kerry Ann White, George Russo, Francis Pope, Lorenzo Camporese. 78 mins
Tony (Ferdinando) is a lonely dullard who looks a bit like Trotsky and just can’t seem to make friends. He could be a recurring cast member of a John Sullivan sitcom, except he kills people.
It’s not acknowledged but the character of Tony seems clearly based on Denis Nielson, or at the very least inspired by the title of Brian Master’s classic book on Nielsen, Killing For Company. Tony wanders the London street desperately trying to strike up connections with people but on the rare occasions that someone enters his world he usual finds he cant cope with them and murders them.
The serial killer black comedy is usually best avoided but this is unexpectedly good. The comedy is never forced but arises naturally from the situation. Unlike other acclaimed serial killer films such as Man Bites Dog or Henry: Portrait of a Serial Killer, Tony is a credible and uncharismatic figure. This is the mundanity of evil – repetitive, dull and grim.
It’s also a very good London film. Johnson has a real gift for getting the most unflattering angle possible. Whether it’s in the West End or stalking the streets of Dalston the film captures the sense of London as a sardine can of solitude, all these lonely people crammed in on top of each other.
Unloved and ignored, Tony the film is likely to suffer the same fate as Tony the man. It’s done the tour of horror festivals, where it was mostly shunned, probably because although it has enough bad language and drug taking to get an 18 certificate, it’s not very violent. That’s a wise move for a film that accepts movies do influence behaviour (Tony’s only hobby is watching violent action movies.) There’s very little to copycat here.
Hyena review
