Three good actors get hijacked by a talky, pointless script in “Sugarhouse,” an hour-and-a-half of cuss-heavy New British Brutalism set in a working-class nabe of East London. HD-lensed low-budgeter, centered on a crackhead, a local thug and a posh outsider, clearly shows its stage origins (scripter Dominic Leyton’s 2003 play “Collision”) in the wall-to-wall dialogue and limited locations, both of which quickly pall as the characters go nowhere. Pic got a limited release in Blighty Aug. 24, following its Edinburgh fest preem.
Tom (Steven Mackintosh), an apparently respectable, white middle-class accountant, meets D (Ashley Walters), a lame, black, motor-mouthed derelict, in the East London ‘burb of Dagenham. As D leads Tom to his open-air squat on a housing project, he gives him the verbal run-around on a gun Tom has agreed to buy. Meanwhile, local kingpin Hoodwink (Andy Serkis), a psychotic bruiser who lives with his scared pregnant g.f. (Tracy Whitwell), is after D for stealing his handgun, the same one D is supposedly selling Tom. Serkis and Waters both wildly overact, while Mackintosh is largely a milquetoast observer. Technical package is just OK, with no visual style.
— Derek Elley