Midlands Review - Kobe
By midlandsmovies, Jun 23 2019 02:19PM
Directed by A R Ugas
Kobe is a short crime thriller from West Midlands writer/director/producer AR Ugas, who you may remember from last year’s Return of the Ring.
Lead character Kobe (played by Mathias Andre) is a disillusioned and hungry young man. About to graduate University and pushed hard by a father he sees as overbearing, he’s seen what happens to those who fail to live up to society’s expectations afterwards. In his own words, he wants to work smart and get rich now, not work hard and get rich at 50 – or never.
So when childhood friend Mouse (Dominic Thompson) is released from prison, Kobe jumps at the chance to join him in a life of crime, as they’re hired by a mysterious man (Tee Morris) to knock off a warehouse full of cocaine. But when the address changes, the stakes shoot up and Kobe finds some very hard choices ahead indeed...
The film gives us some wonderful dilemmas, which I won’t go into in too much detail for fear of spoilers. There are two lines that, to me, embody the best parts of this story. “Lions don’t walk with hyenas,” Kobe’s dad says threateningly to Mouse. And later, not long afterwards, when Mouse cautions Kobe to “go to sleep and don’t wake up as the same person you went to sleep as”. Kobe sees himself as a class warrior, defying his father’s middle-class attitudes in favour of running with Mouse and taking on a life of violent crime.
But Mouse knows the truth of it, and is warning him that Kobe the 3rd-year student might not have what it takes to pull this crime off. Kobe the faceless masked criminal might.
Ugas brings his camera in close and handheld, eschewing glossy shots to bring a gritty low-tech feel to this gritty low-tech story. It’s a realistic story told in a no-frills way, which mostly works extremely well.
Some of the scenes felt a little flat and could have used more dynamic editing or movement (Mouse’s argument with his now-ex comes to mind), but once the story gets going there’s no stopping the flow. The only technical area that could use more attention is the sound; sound design is often the first casualty of a low budget, but it’s arguably one of the areas that needs the most attention. Clear, audible dialogue and effective use of soundtrack and sound effects are essential in grabbing and holding an audience’s attention and helping them stay immersed. Some of the dialogue towards the beginning is mumbly, and some of the silent scenes would benefit from music to help evoke emotion.
The cast is superb – Andre shines in moments of conflict where he wrestles with his conscience, and Thompson balances cocky chav with wounded victim of the life he leads. He’s trapped in his life, a bit more explicitly so as we see towards the end, but Kobe chooses to walk his path. No wonder Mouse seems almost frightened by Kobe’s willingness. Tee Morris is another standout, bringing the intensity he had in Climbing Trees and channelling it into the brief but memorable role of a man twisted by anger and hatred.
This is only AR Ugas’ second film, with a third in development (with a title like “We Have the President’s Daughter” it promises to be a slicker and faster-paced affair). It’s clear he has the talent and aptitude to take a tiny budget and deliver an entertaining and moving story. I suspect this is only the beginning of a career to keep an eye on!