
The Business (DVD)
4 of 4 people found this review helpful.
A young London tearaway gets embroiled with British gangsters on the Costa Del Sol. Tough crime thriller from writer-director Nick Love
If Nick Love's The Business wants desperately to be GoodFellas, well, which modern gangster film doesn't? Martin Scorsese isn't a bad role model and Love grafts hard for his 1980s-set British answer to the definitive mob epic. Safegeezers, anyone?
Granted the language is more "fackin 'ave 'im" than "fuggedaboudit", but otherwise it's all here: the callow, impressionable youth seduced by the alluring, ruthless criminal underworld; the street smart mentor who takes him under his wing; the loose cannon partner; and the greed for power and money that finally topples their little empire.
Love also co-opts Scorsese's visceral, kinetic style and it doesn't hurt that his protagonist Frankie (Dyer) leaves glum south London for glam southern Spain early on. Damian Bromley's fine camerawork gets punch-drunk on Malaga's bleached-white villas, lobster-red bodies basted in sunshine and the trappings of the 1980s "loadsamoney" lifestyle.
Almost as soon as he arrives on the Costa Del Crime, Frankie hooks up with flashy drug dealer Charlie (Hassan, who'll never get a better screen entrance than here), along with his psychotic mate Sammy (Bell), their crew, and Sammy's teasing minx of a girlfriend Carly (Chapman).
As with any business, cost-effective expansion is the name of the game and Charlie's mob move smoothly from taking over a local nightclub to eventually running marijuana from Morocco. They even sweet talk the local mayor, although once they renege on a promise not to deal cocaine, the stakes are dramatically raised all round. And that's without Frankie's growing attraction for the duplicitous Carly.
Love clearly wants to resurrect the 1980s from terminal un-hipness. He provides a jukebox of the decade's best tunes and a catwalk of shoulder-padded fashion. (While the music stands the test of time, it's doubtful whether Fila leisurewear can be viewed with anything other than irony.) Unfortunately this idolatry of the period blunts the social commentary. We get a brief clip of Margaret Thatcher on TV early on, and in some ways, Charlie's gang are carrying out her mandate.
Unlike Scorsese, Love doesn't engage in the contradictions and complications that arise. Ultimately, he'd much rather go for the 'cool' attitude, showing his middle finger to community, morality and the conventions of an ending where crime doesn't pay. And despite solid work from the three male leads, there's a troubling misogyny at play. Every female character here is a combination of cheap, foul-mouthed, and untrustworthy and it seems to run deeper than the characters' own view of women.
Verdict
Bravura filmmaking and an involving if familiar crime saga are compromised by a dependence on flash surface thrills and a lack of depth.
Review ID: 10000000006531715

Thank you for voting. If your vote meets our
guidelines, it will be posted within 24 hours.
You cannot vote on the helpfulness of a review you wrote.
Your request cannot be processed at this time. Please try again later.