Us and Them Reviews

  • Mar 19, 2019

    Plot simple, but very derivative. Liked Jack Roth, but too much Pulp Fiction/Reservoir Dogs.

    Plot simple, but very derivative. Liked Jack Roth, but too much Pulp Fiction/Reservoir Dogs.

  • Nov 07, 2018

    Must see. Contemporary storyline rivetingly captured. Captivating.

    Must see. Contemporary storyline rivetingly captured. Captivating.

  • Nov 06, 2018

    Violent but absorbing and compelling viewing

    Violent but absorbing and compelling viewing

  • Nov 01, 2018

    Great film, definitely recommend a watch of this one.

    Great film, definitely recommend a watch of this one.

  • Oct 09, 2018

    This was a decent independent British film. This is what films are about. Think clockwork orange meets guy Ritchie meets Wes Anderson and Tarantino but on a small budget

    This was a decent independent British film. This is what films are about. Think clockwork orange meets guy Ritchie meets Wes Anderson and Tarantino but on a small budget

  • Apr 23, 2018

    This is an instant cult classic! Jack Roth is amazing (the fruit didn't fall far from the tree here, folks!) and the entire thing has a gritty, non-linear, Terantino-like feel to it! The topic was current and relatable and the commentary was edgy! I'm a fan!

    This is an instant cult classic! Jack Roth is amazing (the fruit didn't fall far from the tree here, folks!) and the entire thing has a gritty, non-linear, Terantino-like feel to it! The topic was current and relatable and the commentary was edgy! I'm a fan!

  • Apr 12, 2018

    Spellbinding. The lead actor, Jack Roth's performance is outstanding.

    Spellbinding. The lead actor, Jack Roth's performance is outstanding.

  • Apr 12, 2018

    US AND THEM PACKS A RETRO, POST MODERN PUNCH AT DIVISION The bigger picture of the increasing divide between the haves and have nots in Britain and the US has been lost a little in the Brouhaha of Brexit and Trump. But in Us & Them, Joe Martin wades into the fetid cesspit of inequality like The Joker from Batman armed with kalishnikovs on each shoulder. But there is much more to this story than first appears. When Danny (Jack Roth, the spitting, snarling image of his father, Tim) and his two accomplices takeover the mansion of wealthy capitalist, Conrad (Tim Bentinck) we're led on a rollercoaster of emotions, with not a little cringing and smiles along the way. Roth, of course, gives an outstanding visceral performance, mesmerizing and repulsive at the same time. But to only see the punk rawness of this film, the simple political revenge plot and the obvious stylistic inspirations of Tarantino, Ritchie, Haneke, Luc Godard et al, is to miss the deeper subtleties at work here. Yes Martin has drawn richly from these sources, but he has done so with a knowing wink of post modern irony and respect to his audience. This is so retro 90's it hurts. Slick, clever and stylish. And funny. Pastiche in fact. One wonders how seriously we are supposed to take any of it - including the political polemics. Through Danny and Conrad, it's as if Martin is laughing at the simplistic polarized views that have landed us in the mess we find ourselves in. The fact that the film is not quite what it first seems is hardly surprising as deception is a theme that is reflected in scene after scene. The boyfriend, the drugs, the petrol, the gun, the 'friends'... Perhaps Martin is trying to tell us something more universal. I loved the earthiness of the film, the rawness yet slickness. The juxtaposition of classical and punk, the tragi-comic-ness and the elemental motifs of fire and water that abound. Ultimately I loved the playfulness of it and the sheer entertainment that keeps you glued to the screen at every twist and turn. And there are a few. This is a story that goes beyond politics, itself a mask of deception to most of us, to a deeper meaning. That if we all work for our own ends without listening to each other's needs, working individually instead of collectively, we are doomed to fail. US AND THEM PACKS A RETRO, POST MODERN PUNCH AT DIVISION The bigger picture of the increasing divide between the haves and have nots in Britain and the US has been lost a little in the Brouhaha of Brexit and Trump. But in Us & Them, Joe Martin wades into the fetid cesspit of inequality like The Joker from Batman armed with kalishnikovs on each shoulder. But there is much more to this story than first appears. When Danny (Jack Roth, the spitting, snarling image of his father, Tim) and his two accomplices takeover the mansion of wealthy capitalist, Conrad (Tim Bentinck) we're led on a rollercoaster of emotions, with not a little cringing and smiles along the way. Roth, of course, gives an outstanding visceral performance, mesmerizing and repulsive at the same time. But to only see the punk rawness of this film, the simple political revenge plot and the obvious stylistic inspirations of Tarantino, Ritchie, Haneke, Luc Godard et al, is to miss the deeper subtleties at work here. Yes Martin has drawn richly from these sources, but he has done so with a knowing wink of post modern irony and respect to his audience. This is so retro 90's it hurts. Slick, clever and stylish. And funny. Pastiche in fact. One wonders how seriously we are supposed to take any of it - including the political polemics. Through Danny and Conrad, it's as if Martin is laughing at the simplistic polarized views that have landed us in the mess we find ourselves in. The fact that the film is not quite what it first seems is hardly surprising as deception is a theme that is reflected in scene after scene. The boyfriend, the drugs, the petrol, the gun, the 'friends'... Perhaps Martin is trying to tell us something more universal. I loved the earthiness of the film, the rawness yet slickness. The juxtaposition of classical and punk, the tragi-comic-ness and the elemental motifs of fire and water that abound. Ultimately I loved the playfulness of it and the sheer entertainment that keeps you glued to the screen at every twist and turn. And there are a few. This is a story that goes beyond politics, itself a mask of deception to most of us, to a deeper meaning. That if we all work for our own ends without listening to each other's needs, working individually instead of collectively, we are doomed to fail. US AND THEM PACKS A RETRO, POST MODERN PUNCH AT DIVISION The bigger picture of the increasing divide between the haves and have nots in Britain and the US has been lost a little in the Brouhaha of Brexit and Trump. But in Us & Them, Joe Martin wades into the fetid cesspit of inequality like The Joker from Batman armed with kalishnikovs on each shoulder. But there is much more to this story than first appears. When Danny (Jack Roth, the spitting, snarling image of his father, Tim) and his two accomplices takeover the mansion of wealthy capitalist, Conrad (Tim Bentinck) we're led on a rollercoaster of emotions, with not a little cringing and smiles along the way. Roth, of course, gives an outstanding visceral performance, mesmerizing and repulsive at the same time. But to only see the punk rawness of this film, the simple political revenge plot and the obvious stylistic inspirations of Tarantino, Ritchie, Haneke, Luc Godard et al, is to miss the deeper subtleties at work here. Yes Martin has drawn richly from these sources, but he has done so with a knowing wink of post modern irony and respect to his audience. This is so retro 90's it hurts. Slick, clever and stylish. And funny. Pastiche in fact. One wonders how seriously we are supposed to take any of it - including the political polemics. Through Danny and Conrad, it's as if Martin is laughing at the simplistic polarized views that have landed us in the mess we find ourselves in. The fact that the film is not quite what it first seems is hardly surprising as deception is a theme that is reflected in scene after scene. The boyfriend, the drugs, the petrol, the gun, the 'friends'... Perhaps Martin is trying to tell us something more universal. I loved the earthiness of the film, the rawness yet slickness. The juxtaposition of classical and punk, the tragi-comic-ness and the elemental motifs of fire and water that abound. Ultimately I loved the playfulness of it and the sheer entertainment that keeps you glued to the screen at every twist and turn. And there are a few. This is a story that goes beyond politics, itself a mask of deception to most of us, to a deeper meaning. That if we all work for our own ends without listening to each other's needs, working individually instead of collectively, we are doomed to fail. US AND THEM PACKS A RETRO, POST MODERN PUNCH AT DIVISION The bigger picture of the increasing divide between the haves and have nots in Britain and the US has been lost a little in the Brouhaha of Brexit and Trump. But in Us & Them, Joe Martin wades into the fetid cesspit of inequality like The Joker from Batman armed with kalishnikovs on each shoulder. But there is much more to this story than first appears. When Danny (Jack Roth, the spitting, snarling image of his father, Tim) and his two accomplices takeover the mansion of wealthy capitalist, Conrad (Tim Bentinck) we're led on a rollercoaster of emotions, with not a little cringing and smiles along the way. Roth, of course, gives an outstanding visceral performance, mesmerizing and repulsive at the same time. But to only see the punk rawness of this film, the simple political revenge plot and the obvious stylistic inspirations of Tarantino, Ritchie, Haneke, Luc Godard et al, is to miss the deeper subtleties at work here. Yes Martin has drawn richly from these sources, but he has done so with a knowing wink of post modern irony and respect to his audience. This is so retro 90's it hurts. Slick, clever and stylish. And funny. Pastiche in fact. One wonders how seriously we are supposed to take any of it - including the political polemics. Through Danny and Conrad, it's as if Martin is laughing at the simplistic polarized views that have landed us in the mess we find ourselves in. The fact that the film is not quite what it first seems is hardly surprising as deception is a theme that is reflected in scene after scene. The boyfriend, the drugs, the petrol, the gun, the 'friends'... Perhaps Martin is trying to tell us something more universal. I loved the earthiness of the film, the rawness yet slickness. The juxtaposition of classical and punk, the tragi-comic-ness and the elemental motifs of fire and water that abound. Ultimately I loved the playfulness of it and the sheer entertainment that keeps you glued to the screen at every twist and turn. And there are a few. This is a story that goes beyond politics, itself a mask of deception to most of us, to a deeper meaning. That if we all work for our own ends without listening to each other's needs, working individually instead of collectively, we are doomed to fail.

    US AND THEM PACKS A RETRO, POST MODERN PUNCH AT DIVISION The bigger picture of the increasing divide between the haves and have nots in Britain and the US has been lost a little in the Brouhaha of Brexit and Trump. But in Us & Them, Joe Martin wades into the fetid cesspit of inequality like The Joker from Batman armed with kalishnikovs on each shoulder. But there is much more to this story than first appears. When Danny (Jack Roth, the spitting, snarling image of his father, Tim) and his two accomplices takeover the mansion of wealthy capitalist, Conrad (Tim Bentinck) we're led on a rollercoaster of emotions, with not a little cringing and smiles along the way. Roth, of course, gives an outstanding visceral performance, mesmerizing and repulsive at the same time. But to only see the punk rawness of this film, the simple political revenge plot and the obvious stylistic inspirations of Tarantino, Ritchie, Haneke, Luc Godard et al, is to miss the deeper subtleties at work here. Yes Martin has drawn richly from these sources, but he has done so with a knowing wink of post modern irony and respect to his audience. This is so retro 90's it hurts. Slick, clever and stylish. And funny. Pastiche in fact. One wonders how seriously we are supposed to take any of it - including the political polemics. Through Danny and Conrad, it's as if Martin is laughing at the simplistic polarized views that have landed us in the mess we find ourselves in. The fact that the film is not quite what it first seems is hardly surprising as deception is a theme that is reflected in scene after scene. The boyfriend, the drugs, the petrol, the gun, the 'friends'... Perhaps Martin is trying to tell us something more universal. I loved the earthiness of the film, the rawness yet slickness. The juxtaposition of classical and punk, the tragi-comic-ness and the elemental motifs of fire and water that abound. Ultimately I loved the playfulness of it and the sheer entertainment that keeps you glued to the screen at every twist and turn. And there are a few. This is a story that goes beyond politics, itself a mask of deception to most of us, to a deeper meaning. That if we all work for our own ends without listening to each other's needs, working individually instead of collectively, we are doomed to fail. US AND THEM PACKS A RETRO, POST MODERN PUNCH AT DIVISION The bigger picture of the increasing divide between the haves and have nots in Britain and the US has been lost a little in the Brouhaha of Brexit and Trump. But in Us & Them, Joe Martin wades into the fetid cesspit of inequality like The Joker from Batman armed with kalishnikovs on each shoulder. But there is much more to this story than first appears. When Danny (Jack Roth, the spitting, snarling image of his father, Tim) and his two accomplices takeover the mansion of wealthy capitalist, Conrad (Tim Bentinck) we're led on a rollercoaster of emotions, with not a little cringing and smiles along the way. Roth, of course, gives an outstanding visceral performance, mesmerizing and repulsive at the same time. But to only see the punk rawness of this film, the simple political revenge plot and the obvious stylistic inspirations of Tarantino, Ritchie, Haneke, Luc Godard et al, is to miss the deeper subtleties at work here. Yes Martin has drawn richly from these sources, but he has done so with a knowing wink of post modern irony and respect to his audience. This is so retro 90's it hurts. Slick, clever and stylish. And funny. Pastiche in fact. One wonders how seriously we are supposed to take any of it - including the political polemics. Through Danny and Conrad, it's as if Martin is laughing at the simplistic polarized views that have landed us in the mess we find ourselves in. The fact that the film is not quite what it first seems is hardly surprising as deception is a theme that is reflected in scene after scene. The boyfriend, the drugs, the petrol, the gun, the 'friends'... Perhaps Martin is trying to tell us something more universal. I loved the earthiness of the film, the rawness yet slickness. The juxtaposition of classical and punk, the tragi-comic-ness and the elemental motifs of fire and water that abound. Ultimately I loved the playfulness of it and the sheer entertainment that keeps you glued to the screen at every twist and turn. And there are a few. This is a story that goes beyond politics, itself a mask of deception to most of us, to a deeper meaning. That if we all work for our own ends without listening to each other's needs, working individually instead of collectively, we are doomed to fail. US AND THEM PACKS A RETRO, POST MODERN PUNCH AT DIVISION The bigger picture of the increasing divide between the haves and have nots in Britain and the US has been lost a little in the Brouhaha of Brexit and Trump. But in Us & Them, Joe Martin wades into the fetid cesspit of inequality like The Joker from Batman armed with kalishnikovs on each shoulder. But there is much more to this story than first appears. When Danny (Jack Roth, the spitting, snarling image of his father, Tim) and his two accomplices takeover the mansion of wealthy capitalist, Conrad (Tim Bentinck) we're led on a rollercoaster of emotions, with not a little cringing and smiles along the way. Roth, of course, gives an outstanding visceral performance, mesmerizing and repulsive at the same time. But to only see the punk rawness of this film, the simple political revenge plot and the obvious stylistic inspirations of Tarantino, Ritchie, Haneke, Luc Godard et al, is to miss the deeper subtleties at work here. Yes Martin has drawn richly from these sources, but he has done so with a knowing wink of post modern irony and respect to his audience. This is so retro 90's it hurts. Slick, clever and stylish. And funny. Pastiche in fact. One wonders how seriously we are supposed to take any of it - including the political polemics. Through Danny and Conrad, it's as if Martin is laughing at the simplistic polarized views that have landed us in the mess we find ourselves in. The fact that the film is not quite what it first seems is hardly surprising as deception is a theme that is reflected in scene after scene. The boyfriend, the drugs, the petrol, the gun, the 'friends'... Perhaps Martin is trying to tell us something more universal. I loved the earthiness of the film, the rawness yet slickness. The juxtaposition of classical and punk, the tragi-comic-ness and the elemental motifs of fire and water that abound. Ultimately I loved the playfulness of it and the sheer entertainment that keeps you glued to the screen at every twist and turn. And there are a few. This is a story that goes beyond politics, itself a mask of deception to most of us, to a deeper meaning. That if we all work for our own ends without listening to each other's needs, working individually instead of collectively, we are doomed to fail. US AND THEM PACKS A RETRO, POST MODERN PUNCH AT DIVISION The bigger picture of the increasing divide between the haves and have nots in Britain and the US has been lost a little in the Brouhaha of Brexit and Trump. But in Us & Them, Joe Martin wades into the fetid cesspit of inequality like The Joker from Batman armed with kalishnikovs on each shoulder. But there is much more to this story than first appears. When Danny (Jack Roth, the spitting, snarling image of his father, Tim) and his two accomplices takeover the mansion of wealthy capitalist, Conrad (Tim Bentinck) we're led on a rollercoaster of emotions, with not a little cringing and smiles along the way. Roth, of course, gives an outstanding visceral performance, mesmerizing and repulsive at the same time. But to only see the punk rawness of this film, the simple political revenge plot and the obvious stylistic inspirations of Tarantino, Ritchie, Haneke, Luc Godard et al, is to miss the deeper subtleties at work here. Yes Martin has drawn richly from these sources, but he has done so with a knowing wink of post modern irony and respect to his audience. This is so retro 90's it hurts. Slick, clever and stylish. And funny. Pastiche in fact. One wonders how seriously we are supposed to take any of it - including the political polemics. Through Danny and Conrad, it's as if Martin is laughing at the simplistic polarized views that have landed us in the mess we find ourselves in. The fact that the film is not quite what it first seems is hardly surprising as deception is a theme that is reflected in scene after scene. The boyfriend, the drugs, the petrol, the gun, the 'friends'... Perhaps Martin is trying to tell us something more universal. I loved the earthiness of the film, the rawness yet slickness. The juxtaposition of classical and punk, the tragi-comic-ness and the elemental motifs of fire and water that abound. Ultimately I loved the playfulness of it and the sheer entertainment that keeps you glued to the screen at every twist and turn. And there are a few. This is a story that goes beyond politics, itself a mask of deception to most of us, to a deeper meaning. That if we all work for our own ends without listening to each other's needs, working individually instead of collectively, we are doomed to fail.

  • Mar 21, 2018

    This movie sucked. Probably the worst movie I've seen this year, and I use MoviePass pathologically.

    This movie sucked. Probably the worst movie I've seen this year, and I use MoviePass pathologically.