Overrated and overhyped

Great story, amazing characters, superb action, enthralling cinematography. Yes, this is something I am glad I spent money on.

By the time the dramatic fireworks start popping off, each one feels earned.

Blistering performances.

This is has got to be one of the most bizarre movies I've seen in a very long time . It has the gloomy , gritty , realist kitchen sink drama you've seen a million times from every Ken Loach film . Somewhat conscious of this Pat Holden then introduces a contemporary soundtrack tothe film , a soundtrack that seems to go on and on . According to the wikipedia a grand total of 28 tracks are used throughout the running time . You can't get enough of doom laden nihilistic songs , tunes to slash your wrists to ? Then you'll probably enjoy AWAYDAYS . Oh and you're also a latent homosexual who can't catch enough homo erotic glances from male characters in a movie ? In that case you might just believe this is a gay , kitchen sink , pop video equivalent of GONE WITH THE WIND These aren't necessarily criticisms and AWAYDAYS would go down very well with film students wanting to discuss kitchen sink British drama or gay cinema or wider existentialist themes . Certainly the look and feel of the movie resembles that of many classic PLAY FOR TODAY dramas but the problem is there seems to be three different type of films trying to escape Certainly the best aspect of the film is its sense of time and place . Unlike Nick Love's remake of THE FIRM you really do believe the story is taking place in its chronological setting , so much so that Holden gives the impression that he owns a Tardis . The hairstyles and fashion and whole feel of the movie screams that it's 1979 Merseyside . However this is the only thing Holden manages to capture well and convey to the audience It's interesting how extreme some of the reviews on this page are and after watching AWAYDAYS you'll take on board both the praise and criticism . Both sides are right in their arguments and I'm sticking by my one line summary at the top of this review

This film is jarringly bad - there's the odd decent tune on the soundtrack, but how did this garbage ever get made. We live in harsh, recession hit times, yet people still had money to waste on making this!!!!! Sometimes, the world just doesn't make sense.Where to start... Acting - uniformly bad; the accents - terrible; the screenplay: Sampson cannot blame anyone else for this mess - he adapted his own novel (have not read the book but would anyone be encouraged to after seeing the film?) He clearly doesn't understand the period that well, though - scousers did not talk like this in the late seventies. In sociolinguistic terms, the dialogue is miles off! I didn't get beyond the 12-minute mark; without a doubt, a contender for the worst film ever made.

The year is 1978; the hippies have been replaced by the punk rockers, the depressive artists following acts like Lou Reed, Ultravox and Joy Division under the ever gloomy landscape of Margaret Thatcher's reformed Great Britain. For many it was a time to put your head down and get on with it, no matter how depressing it might have been—and then for other's it was more of an opportunity to let loose; to express the frustration built up inside by the disappointing anti-climax of the nineteen-sixties revolutions; their now forgotten refrain of "all you need is love" now replaced with council flats, minimum wage and a cheap night out at the pub to somehow make up for a day's soul-crushing monotony. Yeah, it wasn't a pretty time, and some people didn't necessarily want to make it any better. Nope, rather it was not uncommon for youngsters of the time who had nothing better to do (no jobs, no prospects, and no educational benefits) to indulge in past-times akin to pouring salt in a wound or prodding at a loose tooth just for the sake of reminding yourself of your dire situation. The country had a massive abscess, and rather than going to dentist to get it seen to, the youth would seek to the anger out through arbitrary fights with rival football fans, just for the sake of it. Sure, in retrospect it might seem a little melodramatic coming from a culture that produced the moody post-punk acts of the seventies, but Awaydays seeks to marry that sense of romance, with something a little more human too.For the most part, director Pat Holden succeeds in bringing out the potency to Kevin Sampson's novel that strives to overcome the somewhat petty, pedestrian nature of this "football hooliganism" counter-culture. The movie's first act which focuses highly on the utterly detestable and seemingly unredeemable characters who would take part in these shallow acts of psychological transference, is unsurprisingly the weakest—but what comes after is something a little more enlightening and insightful. After spending a good half hour with these chaps that you'd probably find hanging outside your local cinema harassing customer's to buy them a "bevy from the offy", Holden takes some time away from the cliché elements of Sampson's novel (domestic quibbles and teenage angst) and brings the focus onto the budding friendship of its two central characters Elvis (Liam Boyle) and Paul Carty (Nicky Bell) who are more than just drunken thugs with zero prospects.Carty is an art-school dropout who finds a lifestyle he is suddenly attracted to in the form of Elvis who is an aspiring, romantic artist who also dabbles in a bit of thuggery and drugs to make sure he's not perceived as a "total ****". Both share a common love of girls, popular, rebellious music and of course, football—or rather, beating up football fans. Unfortunately, going by scripture set in vinyl by their Godfather Ian Curtis while this common ground brings them together for short periods of time, it also tears them apart. From the offset, Carty comes off as a day-tripping tourist in search of a few months living like common people, and Elvis as an overly self-conscious sheep who is never quite sure of what he wants or how to get it—yeah, teenagers. This in turn with Holden's persistence that his feature be brimming and truthful with the emotional roller-coaster that was teenage life of the time is going to disgruntle viewers, but only because of the subject matter, rather than the way in which he portrays such subjects. Rather, taken from a distance, Awaydays is surprisingly reflective of those troublesome years, but never succumbs to the one-track mind-frame that dominates its central characters—these guys have more faults than virtues sure, but Holden makes sure to give them more than one dimension that is fleshed out after the first act into a dynamic that is thought-provoking and insightful enough to make you forget their misgivings.What really helps to keep Awaydays afloat however are the performances of its central cast who, spearheaded by the charismatic and nuanced portrayals of Elvis and Carty, nail the humanist tones that echo throughout Sampson's story. So as the movie goes on, it gets to a certain point where you actually feel for these two guys and their situation—you may not like them, but they become more than just caricature thugs glorifying their right to expression by cutting up strangers' faces. Of course, there are still problems going into the film's closing stages which result largely from the melodrama associated with all this romantic tint put on the two character's plight, but when taken in context of Holden's otherwise extremely grim and bleak tale of late seventies street crime, such minor distractions fail to take any major precedence. The result is a surprisingly mature memoir of a time dominated by teenage angst and rebellion against a rather inhospitable society that—although flawed—works far more than it necessarily should.A review by Jamie Robert Ward (http://www.invocus.net)

'Awaydays' is not your typical football hooligan film, the sub-culture of football hooliganism in the early years of Thatcher's Britain is there to set the brooding scene, however it is evocative the homo-erotic relationship between Carty (Nicky Bell) and the eccentric Elvis (Liam Boyle) that takes centre stage and gives Paul Holden's film slightly more depth than simply being a film about men taking out their boredom in the form of fighting on a Saturday afternoon.Paul Carty is a suburban male who is drawn towards the 'The Pack', a group of thugs who take their excitement from fighting on a Saturday afternoon all across Britain, through these encounters he grows closer and closer with a bohemian working-class character in Elvis. Elvis just wants to move away to Berlin and start a new life around people who understand him, while Carty just wants to find direction in his life after his mother's death. As they connect through their mutual love of Bowie, the Liverpudlian music scene and Art, they develop an increasingly complex relationship that is bordering on the homoerotic. It is this intricate bond between these two seemingly different, yet very similar and flawed 'men' that keeps the film ticking over. If you removed this key component then the film falls a little flat, with Kevin Sampson's script missing out many explanations to key elements such as why Carty is drawn towards the allure of the 'The Pack' in the first place and the death of John. With that said, it is hauntingly shot with a soundtrack that compliments Pat Holden's sombre directorial style, and even though at times he has a tendency to delve too much into the LSD-induced hallucinogenic state's of both boys minds, he does it with little expense to the viewer.If you want a film that doesn't simply look at the male phenomenon of having a good scrap on a Saturday afternoon because we're all bored and working class zombies in a capitalist machine ('Football Factory', 'Green Street') then 'Awaydays' is for you, as it offers just that bit more and is akin to something of a 'football-love-story'.