F Johannes Roberts, 2010
F is undoubtedly a small movie, shot with little money and a lot of defects but is also a film that does its job damn well. Roberts does not lose a second in unnecessary explanations or reasons for telling the press what happens but right now catapulting the viewer in an accelerator Siege of the most successful films of recent years. All we need to know is that Robert Anderson (David Schofield , cinema face which is always a pleasure to see on the screen) is a teacher that after being attacked by a pupil, whom he mocked for taking a F , without receiving the least support from schools and institutions is soon sucked into a spiral of alcoholism and paranoia, losing family, which is removed, and credibility at work. No one listens so his rants about the dangers of students and the high number of accidents that occur each year to teachers, until, out of nowhere, appears a handful of hooded kids beginning to put fire to the school where he works. The strength of the film is all here, with a simple effect that (a lot) scary face of the attackers not only is never shown, but it looks to be no, and this, together with the fact doing parkour move, moving ape, supernatural almost demonic, makes them very threatening. Roberts said that in its attempts F should have been a sort of remake of District 13: Assault on death but apart from some tribute from Johannes Roberts's F securities, the taste is deliberately Carpenter, the film is more like Ils (another film quite successful), or all that vein of recent British films, from Eden Lake to Harry Brown , through Cherry Tree Lane (in fact I had already talked about this trend in its review of Williams film) where it seems clear that in the land of Albion there is more of a problem in managing the new generations. Roberts, however, despite its villains so indistinct and abstract side to pay the more than a metaphor for the young and evil, is more interested in action and the building of tension. Thanks to a director who knows when to step back as little as possible showing (Also, of course, for reasons of mere budget), then restart with the great couple of episodes at the edge of bloody gore, an intelligent writing that manages to dodge the risk run by the big films of this genre, the script dips , a theme and fits perfectly beautiful sound that pays homage to Carpenter as much silver, and the length, seventy-five minutes, though in other cases may seem small, this is perfect, the English signed a film with a strong flavor old school, fun and can entertain the great from the first minute until the final, which could turn up their noses to many but for me it's perfect and intelligent. B +
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