AKA
Aspect ratio: 3 x 1.78:1 within 2.39:1 frame (Triptych)
Sound format: Dolby Digital
1978: A working class teenager (Matthew Leitch) assumes a false identity and gatecrashes high society, where he learns harsh lessons about the divisions between Rich and Poor.
Autobiographical feature by director Duncan Roy (JACKSON: MY LIFE... YOUR FAULT), an exposé of the pre-Thatcherite aristocracy, as seen through the eyes of a low-rent 'commoner' whose world view is transformed by his adventures amongst the Upper Classes. Unfortunately, Roy's screenplay says very little we didn't already know about the excesses of the idle rich, and the narrative is only briefly ignited by Leitch's relationship with a handsome but self-destructive rent boy (Peter Youngblood Hills) who turns out to be no less hypocritical than the very people he seeks to emulate. Also starring Diana Quick (as an outrageous snob who believes working class people are "embarrassed to be alive"!), Bill Nighy as the black sheep of a wealthy family, Lindsay Coulson ("EastEnders"), Blake Ritson (DIFFERENT FOR GIRLS) and Georgina Hale in a typically flamboyant cameo, flashing her boobs at all and sundry, without a care in the world!
Unfortunately, much of the film's impact is diluted by Roy's insistence on using a Triptych effect (three separate 1.78:1 images are letterboxed within the 2.39:1 frame, each one providing a different viewpoint of individual scenes), which shrinks the image and distances viewers from events on-screen. A long, pointless film, too personal for wide appeal, and hampered throughout by a cinematic process which fails to reconcile the story at hand. A single-image version is also available (framed theatrically at 1.85:1), with the on-screen title AKA: LIES ARE LIKE WISHES.
Aspect ratio: 3 x 1.78:1 within 2.39:1 frame (Triptych)
Sound format: Dolby Digital
1978: A working class teenager (Matthew Leitch) assumes a false identity and gatecrashes high society, where he learns harsh lessons about the divisions between Rich and Poor.
Autobiographical feature by director Duncan Roy (JACKSON: MY LIFE... YOUR FAULT), an exposé of the pre-Thatcherite aristocracy, as seen through the eyes of a low-rent 'commoner' whose world view is transformed by his adventures amongst the Upper Classes. Unfortunately, Roy's screenplay says very little we didn't already know about the excesses of the idle rich, and the narrative is only briefly ignited by Leitch's relationship with a handsome but self-destructive rent boy (Peter Youngblood Hills) who turns out to be no less hypocritical than the very people he seeks to emulate. Also starring Diana Quick (as an outrageous snob who believes working class people are "embarrassed to be alive"!), Bill Nighy as the black sheep of a wealthy family, Lindsay Coulson ("EastEnders"), Blake Ritson (DIFFERENT FOR GIRLS) and Georgina Hale in a typically flamboyant cameo, flashing her boobs at all and sundry, without a care in the world!
Unfortunately, much of the film's impact is diluted by Roy's insistence on using a Triptych effect (three separate 1.78:1 images are letterboxed within the 2.39:1 frame, each one providing a different viewpoint of individual scenes), which shrinks the image and distances viewers from events on-screen. A long, pointless film, too personal for wide appeal, and hampered throughout by a cinematic process which fails to reconcile the story at hand. A single-image version is also available (framed theatrically at 1.85:1), with the on-screen title AKA: LIES ARE LIKE WISHES.