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The links drawn between cinema and the internal conscious feel deeply contrived, to the point where itРІР‚в„ўs very difficult to extend empathy towards anyone on screen. ItРІР‚в„ўs a decently put together film, but unfortunately it never feels more than an exercise in technical bravura and simplistic, cinematicallyР’В practicalР’В musings on the inner workings of the mind. A significant ellipsis between CarlРІР‚в„ўs romantic bungling with Abby and her death is what drives matters forward, as we join the РІР‚СљheroРІР‚Сњ in his attempts to fill in this important blank.

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The revelation that Carl is an ex-convict prompts further questions regarding the veracity of events, as well as his supposed innocence as the mollycoddled son simply attempting to break free from the iron grip of his domineering mother (Anne Reid).

Timeframes and true identities are blurred, and it becomes evident early on that Rupert Jones isnРІР‚в„ўt asking the viewer to take anything at face value. The question, then, is how we bridge the gap from highly awkward flirting to whatР’В appearsР’В to be murder. But when he finally gets Abby (Sinead Matthews) home, in her figure-hugging blood-red jeans, she seems familiar from aР’В short prologue in which Carl discovers a womanРІР‚в„ўs corpseР’В in his bathroom. He plucks up the courage to wade headlong into aР’В the world of online dating, purely as a way to alleviate his loneliness. Friendly status updates with his neighbour initially attest toР’В his normalcy, thoughР’В it transpires that he is (unsurprisingly) unlucky in love. Carl lives alone in a tower block, and itРІР‚в„ўs a sad life all told, despite the fact that he appears a very affable type of guy.

Kaleidoscope reviews