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Lock, Stock And Two Smoking Barrels might have been a slap-up feast of cocky laughs and ballsy style, but it left the Brit film industry flushed with a chronic case of genre diarrhoea. Rancid Aluminium, Circus, Love, Honour And Obey... For a while there, Brit film was toilet.
And like any prolonged job, just when you think the rumblings have stopped, there's always an extra nugget to squeeze out. Half a decade on, Triggermen's resounding plop should signal the end of an industry (bowel) movement. What makes this gangster-comedy so depressing isn't the shonky performances from Neil Morrissey and Adrian Dunbar as dozy crims mistaken for contract killers. It isn't the witless script that lumbers hitman Donnie Wahlberg and gangster's girl Claire Forlani with a dopey love story. It isn't even the wannabe-a-geezer direction, all cheesy camera swerves against brown-rinsed stock. Nope, it's a lack of inspiration so drainingthat you'll want to weep. Memo to Brit film: time to wipe up.
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