Why filmmakers find it necessary to remake versions of films successful in other languages so soon after the release of the originals is puzzling - but we have remakes of the Stieg Larrson "Millennium series" and now the Nicolas Winding Refn Pusher trilogy transplanted to London instead of Copenhagen: the question remains as to 'Why?' Supposedly it is the finest form of flattery to copy another's work, but with the paucity of really quality films in the theaters now the trend seems a redundant waste.
Not that the current Luis Prieto/Matthew Read single version PUSHER is not worth the effort because in many ways it is a tight and tense and well crafted little film. Comparisons seem unfair were it not for the fact that it is a condensation of the Refn trilogy. The story starts off with a bang and races pell-mell to its finish, and the camera work and music background aid immeasurably to the success of the movie. It is a race against the clock thriller in which a minor drug dealer Frank (Richard Coyle), accompanied by his sidekick, the female obsessed Tony (Bronson Webb) botch a surefire drug deal from an import from Amsterdam via carrier Danaka (Daisy Lewis) is supposed to pay off crime lord Milo (Zlatko Buric in a fine replay of his original role) and his guard Hakan (Mem Ferda), but deal after deal fails, Frank is arrested after dumping a large amount of cocaine in the river, and for a week Frank attempts to borrow money from everyone he has befriended in the past including his girlfriend Flo (Agyness Deyn) and his mother (Joanna Hole) and his hit Marlon (Neil Maskell). Frank's desperation mounts as Milo demands payment and literally everything falls apart for Frank - except for the hope of getting out of the game, and even that fails if we are to believe the end of the story.
Richard Coyle strikes the right note of empathetic victim and out of control desperation and his performance gleams. The supporting cast is very fine, but somehow the film isn't able to muster the conviction it should. Drug dealing is bad (especially when the dealers are seen snorting their own product throughout the film) and this version of the drug scene in London is credible. If the viewer has not seen the original, then this film will stand up better with the comparison to the trilogy.
Grady Harp
Not that the current Luis Prieto/Matthew Read single version PUSHER is not worth the effort because in many ways it is a tight and tense and well crafted little film. Comparisons seem unfair were it not for the fact that it is a condensation of the Refn trilogy. The story starts off with a bang and races pell-mell to its finish, and the camera work and music background aid immeasurably to the success of the movie. It is a race against the clock thriller in which a minor drug dealer Frank (Richard Coyle), accompanied by his sidekick, the female obsessed Tony (Bronson Webb) botch a surefire drug deal from an import from Amsterdam via carrier Danaka (Daisy Lewis) is supposed to pay off crime lord Milo (Zlatko Buric in a fine replay of his original role) and his guard Hakan (Mem Ferda), but deal after deal fails, Frank is arrested after dumping a large amount of cocaine in the river, and for a week Frank attempts to borrow money from everyone he has befriended in the past including his girlfriend Flo (Agyness Deyn) and his mother (Joanna Hole) and his hit Marlon (Neil Maskell). Frank's desperation mounts as Milo demands payment and literally everything falls apart for Frank - except for the hope of getting out of the game, and even that fails if we are to believe the end of the story.
Richard Coyle strikes the right note of empathetic victim and out of control desperation and his performance gleams. The supporting cast is very fine, but somehow the film isn't able to muster the conviction it should. Drug dealing is bad (especially when the dealers are seen snorting their own product throughout the film) and this version of the drug scene in London is credible. If the viewer has not seen the original, then this film will stand up better with the comparison to the trilogy.
Grady Harp