Adulthood is the first English-language film I've ever had to watch with subtitles because I couldn't understand what the characters were saying. Almost without exception the young actors speak a strangulated version of the language through a Caribbean-affected drawl that makes every other word unintelligible. Americans – who I've seen in other film's reviews commenting on the difficulty of following, say, a cockney accent (which British people can easily understand) – won't have a hope of figuring out what they are talking about.
Happily, that's pretty much the only complaint (although it's an observation rather than a complaint) as Noel Clarke has delivered a powerful sequel to his highly acclaimed Kidulthood. I hadn't seen that film when I saw this, but it isn't really necessary in order to understand what is going on. Clarke plays a young man on his first day out of prison who finds himself the target of the friend of the youth he killed six years before. His character, eyes opened by a spell in prison that has shown him how deluded he was before he went inside when he considered himself to be a big man, is played low-key, in contrast to those of all the other youths, including the small-time dealer, a friend of Clarke's victim, who puts a contract out on him.
Clarke gets under the skin of these characters without forcing them to step outside of their tough shells to blurt out insightful speeches. The dealer's insecurity is evident in the exaggerated swagger, the habitual aggression that constantly threatens to boil over into violence or rage. Like an old man he is resistant to change and fearful of losing more friends – even if it's to an education and a woman who isn't fazed by his in-your-face attitude. Adam Deacon nails the part perfectly and easily gives the best performance in a film which is marked by the quality of the acting.
Everyone else is looking for a way out of the gloomy inner-city jungle while ensuring, by the nature of their activities, that they will never leave. Clarke's wrapping up of the story offers no solutions or fake happy endings: 'This isn't over,' the defeated Jay cries, and his words refer as much to the character's entrapment in their dispiriting urban prison as it does to his feud with Clarke
Happily, that's pretty much the only complaint (although it's an observation rather than a complaint) as Noel Clarke has delivered a powerful sequel to his highly acclaimed Kidulthood. I hadn't seen that film when I saw this, but it isn't really necessary in order to understand what is going on. Clarke plays a young man on his first day out of prison who finds himself the target of the friend of the youth he killed six years before. His character, eyes opened by a spell in prison that has shown him how deluded he was before he went inside when he considered himself to be a big man, is played low-key, in contrast to those of all the other youths, including the small-time dealer, a friend of Clarke's victim, who puts a contract out on him.
Clarke gets under the skin of these characters without forcing them to step outside of their tough shells to blurt out insightful speeches. The dealer's insecurity is evident in the exaggerated swagger, the habitual aggression that constantly threatens to boil over into violence or rage. Like an old man he is resistant to change and fearful of losing more friends – even if it's to an education and a woman who isn't fazed by his in-your-face attitude. Adam Deacon nails the part perfectly and easily gives the best performance in a film which is marked by the quality of the acting.
Everyone else is looking for a way out of the gloomy inner-city jungle while ensuring, by the nature of their activities, that they will never leave. Clarke's wrapping up of the story offers no solutions or fake happy endings: 'This isn't over,' the defeated Jay cries, and his words refer as much to the character's entrapment in their dispiriting urban prison as it does to his feud with Clarke