![]() ![]() Almost Married isn't afraid to shock the viewer, with scenes of male urination and visits to GUM clinics, although none of this is done gratuitously, what AM does so brilliantly is to address issues that are relevant in today's society, it does it with a cheeky smile on it's face and some crude jokes along the way. What I was treated to was both surprising and extremely satisfying. I was lucky enough to be invited to a private screening of Almost Married, I didn't know what to expect as this is director Ben Cookson's first film and I admit I wasn't going into the cinema with any great expectations. I'm looking for some intelligent comedy being made other than Woody Allen films. By the film's end it had become so tedious I couldn't wait for the credits. There are few laughs in this film because stupidity is passed off as comedy without any basis or punch-line for humour. ![]() ![]() Unlike the In-Betweeners, the two guys are adult English working class pals who act so gormless you may understand why some school GCSE scores are so low. They take a serious yet simple problem and morph it into a saga-like road trip in an attempt to find a hooker who may have given the groom the clap only a few weeks before his wedding. Other than her the plot of this film mimics such Vince Vaughan gems of the absurd as the Dilemma.where you have an obvious problem and an equally obvious solution, something that eludes the two buddies who are the main characters.a future bridegroom and his self serving manipulative best man. The best thing about Almost Married is smoking hot Emily Attack (Atack). ALMOST MARRIED treads familiar thematic ground, but it does so in a refreshingly unsentimental way. McGinley delivers a convincing characterization of Kyle, who tries to sustain a laddish image while trying to reflect on his past and future life. ready to settle down and enjoy married life - in case it infringes on their masculine self-images. It is almost as if they are apprehensive about appearing too 'normal' - i.e. Set in an unspecified northern town, ALMOST MARRIED has a strong sense of place, as it contrasts the respectable streets of suburban houses with the seedy bars and brothels where Jarvis and Kyle hang out. ALMOST MARRIED ends with a freeze-frame of him leaving Lydia's house and setting out on his own - for the first time, he understands that he does not need his mates' support to survive. The only time when Kyle can face up to his dilemma is when he has broken free of Jarvis and set out on his own to confront Lydia with what he thinks is the truth about what happened. Being serious is considered 'weak' - especially at the pub. The film also depicts the fragility of male bonding: the only way in which Kyle, Jarvis and their mates can get on is to make jokes at one another's expense. Kyle himself finds it very difficult to talk to the doctor (Val McLane): Cookson's camera focuses on his increasingly troubled countenance as he tries to tell the truth about his sexual past. At one point Jarvis shouts out "I'm not gay!" to all and sundry, even though he has accompanied Kyle to the hospital. While Kyle and his best friend Jarvis (Mark Stobart) are perfectly happy to dream up increasingly ludicrous methods of overcoming Kyle's problem in the pub over several pints of lager, they are obviously ill-at-ease when they visit the sexual health clinic. Ben Cookson's film contains a relentless stream of bawdy jokes, allied to a peculiarly British modesty when it comes to talking about sexual matters. After a picaresque series of adventures, including a dash up to Newcastle to visit its brothels, he discovers that he is perfectly healthy, and that the disease has originated from somewhere else. The basic framework is straightforward: Kyle (Philip McGinley) is reluctant to go through with his marriage to fiancée Lydia (Emily Attack) in the belief that he has contracted a sexually transmitted disease. In terms of plot, ALMOST MARRIED recalls early Seventies efforts such as PERCY'S PROGRESS (1974) in its almost relentless obsession with the penis. ![]()
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