videorama-759-859391 Tony is too short, yes. Why is that bad? Because the film is so frickin' good. It tells us all in 73 minutes, in what is a very disturbing serial killer movie, London style. And how awesome is the actor? Very awesome. Either being ignored or narrowly avoiding punch ups, Tony is a pathetic loner, who desperately wants companionship, but harvests a deeper darker secret. He's a serial killer, disposing of body parts in the river. There's some occasional, but underestimated violence, one scene in particular, involving some severing of a poor SOB's arm in a sink. Disturbed loners or just loners, will relate with the harsh reality of this film, that also works as a comedy too, thanks to certain dialogue, as only actor Ferdinado can deliver. The interrogation scene that has him mentioning a movie reference and title, to a serious as hell young copper, where a local kid has gone missing, is gold, but none more so, than the scene at the unemployment office, with Tony's much refusal to work. Funny too, was a similar scenario with him in an interview at a tanning salon. The gay aspect with the young male clubber, taking an interest in Tony, I didn't really need, as I found it a bit off putting, where truly Tony, has some repulsive moments, but it has an all too realness about that sets it apart from other serial killer movies, ones not based on killer movies, where this one was confrontingly real, which to me is a great way to wile away 73 minutes of disturbia. Ferdinado plays it down, so well, not overdone. Tony, even though a fictional character, is an all too real one, capable of such murderous crimes, as a many people you see in society. The subplot where the little boy went missing, really heightened the disturbing air of the film, with a much relieved ending, but for Tony, with shades of a Travis Bickle like character, a much opened ending, where for him, loneliness is a revolving door, of rejection, ridicule as near misses with fists. Tony is a serial killer film that really impressed me, without having to fancy it up, or anything. It's an all too real slice of reality, where Ferdinado, brings so much imagination, with an unforgettably disturbing and pathetic character.

samuelactually The first thing to say: this is a dark comedy. It may have some social overtones, but I enjoyed the humorous parts of the movie For example, He tries conversing with the Vietnamese, pirate DVD seller about the benefits of VHS, and how he should stock VHS movies not just DVD's.The Job-seeker agent says that he can meet people by cleaning toilets.He asks a sex line worker if her appearance is like that in the picture, and when she replies that she is 34 DD; he asks pre-op or post- op? To which, she replies trans-gender.This movie is humorous, if you find this type of humour enjoyable. This film is not a horror, slasher or a social commentary. Its tongue in cheek, absurd take on serial killers. In the final scene, he is seen disposing of dead bodies in the river Thames, and it reminded me of the other notorious serial killer Dexter. This is Satire, not to be taken literally.

tomgillespie2002 Tony watches action films on video cassette. He lives alone in a vertical street; a tower block in run down Dalston, a suburb of 'Broken Britain's' North London. Tony has not worked for over thirty years, and has no wish to do so. After all, he does have so much to do at home. This is at least what Tony tells his job centre adviser. This scene happens around the middle of the film, where we have already discovered that Tony has a penchant for murdering people in his flat. In protracted sequences throughout the film, we see Tony rigorously separate the body parts into their smallest components; wrapping them in newspaper and placed in corner-shop blue plastic bags for disposal. Whenever we follow Tony as he walks the streets, he is always carrying blue plastic bags. Tony has a lot of body parts to dump in the Thames.Gerard Johnson's feature debut is a gritty serial killer movie, - clearly inspired by real-life British serial killer, Dennis Nilson (the Muswell Hill Murderer) - that follows a man completely alienated from his surroundings. He is Nilson in the early 1980's. He only watches action videos from that decade. Like Nilson, Tony (played with all the sweaty awkwardness needed for the character, by Peter Ferdinando) prefers to keep the bodies for company. He talks to them as they are placed on the sofa, or laid out in bed. Tony's life is a cycle of seconds of murder; hours of company; much time dismembering; and a long, perpetual task of bit-by-bit disposal.Tony picks up men in gay bars. He persuades a couple of smack-heads to go back to his flat. A boy of 10 years goes missing on the estate. A large, stereotypical, aggressive working-class man targets Tony as an obvious target: His appearance could resemble that Daily Mirror image of the bespectacled, moustachiod loner, that so associated with a pederast.Despite the grim, and inescapable bleakness of the film, director Johnson, finds room to add humour. The film resembles, stylistically, that of John McNaughton's excellently unresolved Henry: Portrait of a Serial Killer (1986). The same concept carries into this film. The life- goes-on attitude. Tony is a ghost in the narrative. Yes, he is the protagonist. But he only exists in his insular world. The space he has dwelt in for "ages". Outside he drifts through the busy streets unnoticed; he fades into obscurity amongst regular people. Anonymously carrying plastic bags of internal organs.The film is self consciously 1970's in its approach; both stylistically, and thematically. in the latter of those two, '70's horror cinema tended to the ambiguity left by rare conclusions. For the first, this is low budget cinema. However, this is certainly made with style; it is highly competent filmmaking. We know immediately from the start of the film that the filmmakers influences in the golden-years-of-exploitation- cinema are a part of this picture; the typeface of the movie title 'Tony' are reminiscent of the title cards for the American exploitationers this really wants to homage. It is an incredibly well made contribution to the likes of Jeff Gillen and Allan Ormsby's Deranged (1974). However, Tony does not highlight the grotesque, like in much of the films it might be 'riffing' on. Johnson's film looks like it could possibly fit into the working-class visuals of a kitchen sink drama - only through the eyes of a cold- hearted killer. Although, whilst we are repelled by Tony, do we also feel pathos for a character so out of touch with the world, that he will try and persuade a Chinese man selling DVDs on the street to sell him outmoded video cassettes? Tony is entirely disenfranchised. Because of this separation from reality, Tony is able to pass unseen. Or perhaps, like Mary Harron's American Psycho (2000), this is all imagined. (By the way, I don't believe at all that this was all imagined; that's just how I ended it.)www.the-wrath-of-blog.blogspot.com

jonathanportch This a difficult film to review without giving away too much and other reviewers have already drawn the outline: it's about a killer. An outstanding performance by Peter Fernandino makes it frighteningly believable. It is short, maybe too short; and leaves all sort of questions hanging unanswered.That's also a strength in that it leaves you wondering. If the characters don't remind you, vaguely at least, of people you know, people you've met. or people you've heard about, then you should get out more. Many people go missing - let's hope this isn't what happens to them...