Wild Bill review

Dickie: Wild Bill my arse, it’s more like mild Bill aint it?

Director: Dexter Fletcher
(2012)

It seems like every month we get another batch of generic British gangster films flooding both cinemas and bargain bins. It’s the same old story; guns, drugs and an unhealthy dose of violence. While some of these attempts are decent-Ill Manors for example-we’re along way from the heyday of British crime flicks. Lock Stock, Snatch, Layer Cake, films of such a strong calibre are sorely missing in today’s releases. While Wild Bill isn’t quite up the standard of these aforementioned greats, it’s a big step in the right direction for a genre drowning in its own shit.

Bill Hayward (Charlie Creed Miles) has recently been released from prison following an 8 year stint. He arrives back at his shabby London flat to find his wife gone and his 15 and 11 year olds sons Dean (Will Poulter) and Jimmy (Sammy Williams) left to fend for themselves. Having little in the way of feelings for each other, he intends to part ways until social services get involved, threatening to put the boys into care. Through some blackmail, Bill stays to care for the boys as his criminal past beckons him back as well as having a detrimental influence on his youngest.

While initially appearing as another thoughtless gang film, Wild Bill overcomes the obstacles of its genre by possessing heart. While Bills growth from no mark father to caring parent could be spotted a mile off, first time director Dexter Fletcher adds plausibility to Bill’s arc through some affectionate scenes. He and Jimmy throw paper airplanes off their balcony or talk about the effects prison has on people’s lives. While Dean initially loathes his barely present father, he also bonds with his dad, someone who takes the weight of parenthood of his little brother off his shoulders.

Without some strong performances, Wild Bill would fail to resonate as successfully as it does. While there's no denying Bill has a dirty past and is an awful father, Creed Miles gives the role enough layers to make the character accessible to the audience. It’s implied he’s a hard bastard, but Fletcher never resorts to violence fuelled flashbacks to prove it, much preferring to let Bill’s legend precede him. Will Poulter gives a strong turn too, successfully portraying the struggles that he has being both a parent, breadwinner, cook and cleaner. In less talented hands Dean would have been a whiney annoyance, but Poulter never overcooks things, frustrated but never aggressive. Elsewhere Neill Maskell, Andy Serkis, Leo Gregory and Iwan Rheon make up the bulk of Bills criminal acquaintances to mixed standards. Serkis (in the flesh instead of a Mocap suit) is quietly menacing, whereas Misfits Rheon is a loudmouthed stereotypical chav who frequently calls people ‘bruv’. His character and performance is laughable, at times threatening to drag the film down with it.

Despite this fresh approach to London crime, Fletcher does fall back on stereotypes from time to time. Drugs are a prominent feature, so much so that the threat they can potentially pose to the characters is reduced to nothing. The character of Roxie (Liz White) is someone we’ve seen a thousand times before as well, yet another hooker with a heart of gold. While these do dull the films sense of ambition slightly, Wild Bill feels remarkably worthwhile in a stagnant genre that’s digging its own grave.

8