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1990. The rave scene has arrived from Ibiza and warehouse parties are exploding across the UK bringing phenomenal wealth to the organisers. In Manchester, best mates Matt and Dylan are in their early 20's and long to be more than just punters. As the government moves to outlaw the scene, it's now or never and they quickly rise through the ranks to join the promoting elite. They are taken on a wild journey from the exclusive VIP rooms of London clubs to the outrageous parties in Ibiza super-villas and the hedonism of Amsterdam. It's everything they dreamed of and more. But as their success continues to grow, they attract a more dark and sinister world. Matt and Dylan start to drift apart as they are forced to question the dreams they set out to achieve and their once solid friendship.Written by
The number 19 England football top worn by Dylan for much of the movie, is the number shirt worn by Paul 'Gazza' Gascoigne in the Italia 90 World Cup finals. See more »
The 10 pound notes and 20 pound notes used in the film are the current notes. They had not yet been introduced in 1990. They were not introduced until towards of the end of the decade for the 10s and around 2006/7 for the 20s. See more »
Appropriately lively, bouncy but unfocused rave culture thriller
STAR RATING: ***** Saturday Night **** Friday Night *** Friday Morning ** Sunday Night * Monday Morning
Manchester, 1990. Dylan (Jack O' Connoll) and Matt (Henry Lloyd Hughes) are two scallywags who get by nicking fruit machines from pubs, until they spot a marketing opportunity in the shape of the emerging acid house/rave culture that is springing up in towns and cities across the UK, with hordes of disenfranchised, disaffected young folk breaking into abandoned warehouses to get off their faces and dance the night away, only for the authorities to clamp down on them. Dylan and Matt propose the biggest rave yet, and enlist the help of a top DJ to help see them over. However, it's not long before drugs arrive on the scene and the criminal element involved plunge the lads into a new and dangerous world that threatens to destroy everything they've worked to build.
Ever since it arrived over from Ibiza in the late 80s, rave culture has played it's inimitable part in the music, fashion and style of a certain generation of young people, and what it went to lead on to was arguably it's greatest achievement. Weekender attempts to be a story based around this phenomenon and is squarely aimed at the audience the film is depicting. At the beginning it starts out as sort of style over substance, opening with the start of what promises to be a funky, lively soundtrack featuring just the sort of tunes that made that period in musical history so memorable.
The soundtrack remains the best asset of the film, but it's worth sticking with the story, because although it retains it's sense of being frenetic and sort of jumbled and incoherent, it does develop into a more engaging portrayal of two lads living in a very recent time, caught up in an emerging world with unexpected dangers cropping up in it. The manner of the film is in line with it's style, with it's sped up shots and blurry camera moments giving it it's added authenticity.
Performances wise, O' Connoll is convincing in another notch to his resume, while Hughes, best known as the bully in The Inbetweeners, is pretty decent support. Emily Barclay and Zawe Ashton are the chicks on display, and they make their mark on the film.
The problem with Karl Golden's film is it sometimes (most disasterously at the beginning) gets lost in it's own style and doesn't have an engaging story to follow. But it still comes off as a fairly decent thriller, inspiringly set against the back drop a lot of people young back then can remember. ***
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