Working class life in Britain is often depicted in a gritty or bleak manner that was coined as kitchen-sink realism back in mid 20th century. It would perhaps be more accurate to describe crime drama Reputation as kitchen-knife realism as the first-time feature filmmaker Martin Law brings a streak of threat and violence to this tale of woe.
The plot centres around low-level drug dealer Wes (James Nelson-Joyce) who, despite his unlawful source of income, has settled into a comfortable family routine with his girlfriend Zoe (Olivia Frances Brown) and their young son. However, when his old pal Tommy (Kyle Rowe) returns to the neighbourhood after a stint in prison, he is forced to confront his sketchy past.
Illustrated with a cold, almost damp, palette of greys and blues, Law gives his fictional town of Dennings an austere aesthetic with its citizens trapped in a vicious cycle of peril and abuse. Taking a cinema verité approach with an unfiltered script to match, our protagonist Wes’ existence is steeped in old-fashioned ideas on masculinity. If he’s not taking out his frustrations down the gym, he’s at the local pub with the boys but he wants to break free from his old ways. His neanderthalic friend Tommy becomes his adversary when his increasingly toxic behaviour drives the narrative to conflict, leading to the inevitable showdown between the two central characters. The third act’s final moments are both intense and ambiguous, leaving a jagged edge to the sinister story rather than the clean cut audiences might expect.
With a mop of bouncy curls atop a face of chiselled features, Wes’ appearance itself has a visual juxtaposition that reflects his troubled mindset and James Nelson-Joyce delivers this internal struggle superbly. Often cast in the villainous supporting roles, this leading part gives him an opportunity to flex his acting muscles in a nuanced turn full of contradictions. Kyle Rowe is a worthy sparring partner, and his volatile, coiled-spring performance as Tommy represents the savagery Wes wants to escape. As the moral compass of the piece, Olivia Frances Brown is great as Zoe; she’s the angel to Tommy’s devil, a flicker of light in the film’s overarching gloom.
With shades of early Shane Meadows in its naturalistic tone and micro-budget ambitions, Reputation is a deftly crafted directorial debut from Martin Law. The social-realist material is elevated by strong performances from its dedicated cast, and the piece can only bolster the reputations of all involved.
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Cinema Perspective 