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How entertaining? ★★★★☆
Thought provoking? ★☆☆☆☆ 4 May 2008
This article is a review of CASHBACK. |
"You can speed it up. You can slow it down. You can even freeze a moment, but you can't rewind time. You can't undo what is done. I thought about what she had seen. I thought about what she hadn't seen. I thought about how I could explain, but the more I thought about it, the more I knew nothing I could say would make her anger go away. How long could I just wait here, delaying the inevitable?" Ben Willis
From the opening of a slow-mo ex-EASTENDER/Bionic Woman Michelle Ryan going mental at the camera, there is the feeling that this British film could be quite a good. By the credits that expectation has been exceeded. There is the definite satisfaction of a sexy, stylish, funny and entertaining flick that is tarnished only by a conventional ending and a lack of depth.
From the opening of a slow-mo ex-EASTENDER/Bionic Woman Michelle Ryan going mental at the camera, there is the feeling that this British film could be quite a good. By the credits that expectation has been exceeded. There is the definite satisfaction of a sexy, stylish, funny and entertaining flick that is tarnished only by a conventional ending and a lack of depth.
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Ben Willis (Sean Biggerstaff) is an art undergraduate who dumps Ryan’s Suzy, because he feels he cannot satisfy her. Realising that he has probably made a mistake and unable to win her back (she’s moved on straight away), he can no longer sleep. Instead of wasting these eight hours he decides to take the night-shift at the local supermarket to earn a bit of cash. While there he meets a comedy assortment of engaging odd-bods, as well as discovers the ability to freeze-time. It is refreshingly unclear whether the power is real or merely the hallucinations of sleep deprivation. With Ben’s new found power he neither uses it for good nor evil, instead he disrobes female shoppers and draws them. Now you maybe wrinkling up your nose, but it isn’t playing to lad-mag lovers; there is a dreamlike quality that stops it being lascivious and rather seems to be a celebration of and a wallowing in of female beauty. CASHBACK’s colours, fluid camera movement, soundtrack and voice-over create a surreal experience, the pleasure of which is heightened by the humour and distinctive characters.
For the most part CASHBACK has no real plot (not that that is a criticism), and tries to reflect those in life curious and seeking fulfilment.
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