User Reviews

I knew I was in for something great when I found out Brian Cox, a veteran actor who I've always admired since I saw him in X-Men 2 as kid, but his always great acting is just one of the many positives of 'Killing Thyme's richness. The opening titles are well done, really stand out and had a colour scheme that fits the allotment which is the primary setting of the film. The opening sequence itself also establishes the setting & is staged really well, having imagery of beautiful well known skyscrapers in background of council estates and quite streets was not only truly inspired but captured how London is both contrastingly vast and small which works well with the small intimate story.

Joe Reynolds is great as Sam especially when it comes to his chemistry with Cox's Norman. Their growing relationship avoids the 'bitter old man warms up to the equally lonely child' cliche since the film takes its time to build up how their shared status as loners brings them together despite how these two are entertainingly completely different in character/experience. Sam's quirks as well as how, as Norman implied, his interest in knowledge is not often typical for many young people these days not only makes him endearing but also sympathetic even when he's doing things that he shouldn't be. His relationship with mother and the work that went into giving their home character i.e. The plants on the balcony, felt authentic and is another example of how 'Killing Thyme" is intimate when capturing how these characters live their lives (Anna always forgetting her keys was a particular nice touch).

The tone shift halfway through the film when Sam attempts to "euthanise" Norman could have easily gone wrong but it felt right and it was a great surprise I didn't see coming. It's realistic that a child would believe the concept of life and death would be easy to understand only after reading a few books so Sam's logic/motivations were always believable even if his 'win win solution' of killing an old man who "wanted to die" and getting an allotment at the same was quite (laughably) messed up. The tension builds up really well when Sam poisons Norman's coffee and the latter kept on walking in on him creating false alarms, obviously I didn't want Sam to succeed but I didn't want him to get caught either because he's generally a good kid; all of this created conflicted emotions in me that kept me on the edge of my seat.

The only problem I had was the really small fraction that made up the ending. While I didn't want Sam to get in trouble, I felt that Norman and Anna's reacted to his "attempted murder" a bit too calmly which somewhat lessens the stakes of what he did. I get that the acting style for the film isn't meant to be too dramatic which works in keeping the narrative grounded but Sam did do something extremely messed up and while I found it hilarious/relieving that Norman simply told Sam to get back to work after the latter's botched euthanasia attempt, I felt the film just ended rather than having a solid conclusion that was built up to. Overall, I am glad I saw this, the three leads gave it there all, I felt various emotions in a small span of time and the themes of life and death were done in a new and engaging ways.

The acting is sick!! Everyone was amazing but I think the kid has a lot of potential in the industry! I'm shook, from the first second to the last, Joe is literally acting so effortlessly as if he has been doing that for decades. His character, and relationship development with Norman is so well developed and written. Kind of made me wonder whether this was purely child innocence or if Sam has got a bit of a serial killer inside him and that's the main reason why I absolutely loved it.

The costumes and mise-en-scene of the short were spot-on as they really portrayed well the characters. The mug that Norman gave Sam, shows Norman's soft side that slowly opens up to the kid and finally makes him feel more welcome in his allotment - feels like a parental/grandfather figure, as his father is absent- , the exact time that Sam tries to destroy that. He is clearly low-key jealous of the other kid and his dad and in the last shot we see Sam smiling as he has gained a friend, a grand-father almost AND an allotment that he wanted so badly.

In the Third Act where Norman thankfully wakes up and realises that he could have died, immediately changes his whole perspective as he looks around his allotment and sees his plants that he once loved and cared about so much are dead. While he leaves his chair and leaves behind the pile of newspapers next to him that kept him company for long enough now, he seems like he forgave Sam immediately as he invites him to plant cauliflower seeds even though he almost killed him. Equilibrium has now been established as Norman was reminded of how small life can be and if we don't take care and love of our own garden, our life, it will eventually die sad and miserable. He might have lost many people but his life is not over yet and it's beautiful how he decided to fight his depression and internal battles and make the most of his life.

From the beginning you're introduced to one of the first themes of the movie, Misunderstandings. The first misunderstanding you face here is that it is not a playful or fun movie regardless of the choice of music and first character introduced. The audience are drawn in by the mischief that quickly transitions into darkness projected by the old man who is then introduced.

Between the interactions and dialogues between these two you come to see they are polar opposites by their ideals and thoughts of life. Through the child's eyes you see hope and hope while through the adults you see the opposite. Regardless of this the child by nature is persistent on getting what he wants and making the changes he desires. Throughout the course of their relationship you see it begins to grow as they open up to each other and come to certain agreements. The child not only changes the garden but slowly the old man as he rubs off on him, this is a pleasant thing to witness and enjoy as it's heart-warming.

By the end of the movie you see that misunderstandings are resolved and because of some experiences the man and child both come to embrace things together and surely become much closer and potentially relying on each other.

*SPOILER ALERT*

Prepare to laugh, almost cry, and cling to the edge of your seat in this dark comedy that takes a sinister turn.

Directed by M J McMahon, this film follows Sam, a young boy with a great interest in plants. The complexity of such a young character is brilliant to see and developed even more so by actor Joe Reynolds' depth of emotions. The character lives in a flat overlooking a dead, overgrown allotment and is in search of his next growing space. Norman, played by Brian Cox is a grumpy old man with no interest in life. He owns the allotment that Sam overlooks. The relationship between the two is very dysfunctional and begins with Sam sneaking in to take it over.

Within this drama the boundary of both life and death is crossed multiple times. Cox perfectly expresses the tired of life attitude that has taken over Norman, a character who has lost all of his loved ones and has nothing to live for. This is crossed with the sprightly attitude of young Sam, who lives to sow seeds and has a caring mother by his side to encourage him.

The sharp vivid shots are incredible in this film. Set in the bustling city of London, Phil Meheux tends to use fast paced tracking shots when Sam is in the scene suggestive of youth and playfulness, contrasting with slower, still shots when Norman is onscreen. The score also follows suit here, the harmonic melody being joyful and faster for Sam yet melancholy for Norman.

When the plot shockingly twists into a dark comedy, Sam's naivety and lack of father figure is evident when he takes Norman's death wish literally. This twist definitely works in the film, as it comes with his prior conversation about overdoses with his Mum, however it is a little strange that his Mum did not school him on the bad effects of an overdose and punish him post attempting to do this to another. Other than this the story is exquisitely written, and both cast and crew made this short into a masterpiece.

Writer Natalie Malla smoothly brings this narrative together, using the contrasting characters to emphasise the idea that not all is bad, sometimes to regrow and blossom can do one the world of good, with a lot of care and attention of course.

A delightfully written and directed narrative short, brought to life by a compelling cast, outstanding cinematography and excellent score. A true pleasure to watch, full of quirks, surprises and dark humour contrasted brilliantly with an innocent naivety, this film has something for everyone.

The small cast is perfect for this film, with the three leads all incredibly strong as characters themselves and through their faultless performances. Joe Reynolds as Sam is a true gem, playing his scenes out with a child-like innocence but a sense of knowing and maturity also. He manages to convey the complexities of Sam's character with utter ease and makes for a truly honest performance. Brian Cox's brilliantly portrayed character of Norman is the binary opposite however and showcases an old cynical nihlist compared with that of a young boy full of hope and intrigue which makes for some excellent character interactions within the film.

All technical elements of the short are superbly thought out, Phil Meheux's cinematography being a clear stand out, breathing life into every frame, particularly in the film's opening, helping to bring audiences on the journey with Sam. This worked excellently with the incredibly crafted animated title cards and Stuart Hancock's jovial score, setting the tone for the film and guiding us into Sam's world. Then accordion used within the score works brilliantly to coincide with the motions of either character, played fast and upbeat with a childish edge when Sam has his screen time and then slows down completely and is drawn out when Norman adds in his depressing nihilistic comments.

Each aspect of the film compliments another, the locations and production design are incredibly well dressed and crafted. The old overgrown allotment next to the busy concrete jungle background of London is truly perfect, almost paralleling the old and new generations and Norman/Sam themselves. Sam's balcony was a particular favourite of mine, filled to burst with plant life and showing how green-fingered Sam is and suggests how much time he spends there. This would make sense due to single mum Anna's busy work life and attending night school also. Sam is clearly alone often, As is Norman, and this is why their unlikely friendship forms.

The irony is, that despite Sam digging up the plant beds and aiming to grow things on Norman's plot, it is in fact Norman who has been planting the seeds. This seed being that he wishes to die, which became more and more firmly rooted in Sams head, to the point Sam convinces himself that Norman truly wishes this and has even inadvertently asked to be killed or Sam to assist with his 'euthanasia'. The only discrepancy here is the corrupt and perhaps dark cognitions that would be going through Sam's head...as a book smart, hyper-intelligent boy, It's quite hard to fathom that he would really think murder is the best course of action. Though you can see the naivety and the good intentions behind it, aside from Sam' yearning for Norman's allotment, I don't wholly believe Sam had it in him to go that far, but that's one of the only negatives I can draw.

The lead up to Norman drinking the overdosed coffee needs mentioning, as it was perfectly constructed. A score that rose in tension along with the camera work and open windowed shed design itself, all elements intertwined masterfully to really have audiences on the edge of their seats and hooked on the action.

If I am being entirely honest I fell in love with Killing Thyme as soon as I'd finished watching it. As if the fact that it stars Brian Cox and Charlotte Riley wasn't enough, its clever portrayal of a child's view upon death and his relationship with a man who is living, in his eyes, on the brink of death is both terrifying and heart-warming. The title gives it all away really, and I love how great of a play on words it is. When I was first presented with the idea behind Killing Thyme I questioned how a film could ever be successful if it was based around an allotment, yet they've managed to make the one thing I thought would be boring into an entirely captivating watch.

As soon as it opens with establishing shots of London, and a boy running through its streets doing things all little boys do, the audience can tell this boy is simply a small fish in a massive pond. His fascination of plants is unusual for someone of his age, seen as it is so often associated with old age, which only makes him all the more interesting. The film constantly reminds the audience of Sam's naivety, which is contrasted with the fact that he's had to look after himself, because he has had no male role model.

The film revolves around the theme of life and death, and is there ever a point that you give up living. Norman is the prime example of someone who has given up. Is it because he lacks the purpose he once had? Or is it because he has lost many of the people he loved? Either way, Norman has been tricked by society into believing his life is no longer worth living because he is not as physically able as he once was. The sweet innocence of Sam crossed with Norman's pessimistic look upon life creates the perfect atmosphere for the next twist in the plot. While Norman has been introducing Sam to the 'darker' side of life, e.g. alcohol, death, he has not realised how much Sam has really been paying attention, which leads to the idea that is planted into Sam's head.

Killing Thyme ends on a high note with Norman realising that the words he had spoken to Sam were hollow words, so when he was confronted with the immensity of death he realised that he had been wasting his life away. The beauty that he is then the one to use the word 'we' to speak about the two of them, makes the audience notice that he has created an unspoken friendship between himself and Sam. This ending leaves the audience with the message that no matter how old we get, we should live our lives to the full no matter what.

As a whole Killing Thyme has been magnificently created, with the music and shots helping to build tension where it was needed. It is an inspirational and thought-provoking short film, which I would most definitely watch again and again.

This is a complex, dark black comedy that genuinely subverts the watcher's expectation and surprises us with the direction it takes. This short picture deals with numerous themes such as growth, decay and death, childhood innocence, friendship.

All the actor's performances are truly remarkable, especially Joe Reynold's given his young age. There is no shortage of witty dialogue; with hilarious one-liners from the cranky old man, Norman, and the quips between the two young and old characters.

The music is incredibly fitting and evocative. Upbeat for the opening, low pitched in some scenes with Norman that exaggerates his melancholy and builds tension in all the right places. It is clear a great deal of effort has been dedicated to this and to even the most minute details - the title and opening credits that appear as a child's handwriting with small drawings of different vegetables.

This piece conveys the dark side in Joe Reynold's character, Sam and his deep yearning to acquire an allotment that, perhaps, can account for his prompt willingness to purposely give the old man a fatal overdose. However, he is not malicious, but he genuinely believes that Norman wants to die and due to his young age, he cannot understand why Norman would say he wants to die if he does not mean it. The one negative I have is that Sam's motivation can be a little unclear at times. It can be misconstrued as to exactly why he takes it upon himself to 'fix' Brian Cox's character Norman's supposed death wish. As an intelligent young boy, shown by his extensive knowledge on plants, his rash decision to essentially murder the old man after reading only one book on death, spurred by his desire for an allotment can seem somewhat improbable, unconvincing and quite shocking. Especially since his mother explained the severity of overdoses to him, it seems too blasé. Nonetheless, the film does a great job of reconstructing a child's naïve view of the world with hilarious consequences.

Killing Thyme was a pleasure to watch. It is thought-provoking and jam-packed with entertainment. It is a treat for the whole family to enjoy with its feel-good ending that cements a rather paternal friendship of Sam and Norman.

*SPOILER ALERT*

Killing Thyme takes a very heavy core question - is it ever okay to kill? - and packages it in a light and charming short. Art has been asking if murder can be justified for hundreds of years - it's the essential issue of Dostoevsky's Crime and Punishment. Just like that novel, 'No' is the answer that Killing Thyme arrives at, but rather than beating you over the head with hundreds of pages of moral teachings, it takes a look at the question through the eyes of a naïve and well-meaning little boy. This turns out to be a new and entertaining perspective on the issue.

The allotment space is a bright oasis of green fertility in the middle of the concrete jungle, framed by sky-scrapers and train-lines. It feels like somewhere special and secluded where unusual things might happen - and indeed they do. This stubborn green force of vitality and growth amongst the dead grey glass and concrete comes to represent a more eternal struggle between life and death, hope and despair - all of the opposites that Sam and Norman stand for. When Sam finally convinces Norman to start nurturing his plants again, it's more than just gardening. Sam has convinced Norman that life is worth living and that is it worth bringing more life into this world. Child actors are infamously hard to find, let alone direct - with this in mind, Joe Reynold's convincing performance as a persistent gardening geek is impressive. Brain Cox is tailor-made for the role of depressed curmudgeon, and the script perhaps doesn't allow him to show off great range because even his warmer moments are offered begrudgingly. Charlotte Riley's performance as NHS employed single-mum is brilliant and very natural. Her affection for and patience with Sam is conveyed with remarkable brevity because - like all single mums in films - she constantly has to rush off to work. However the fact that she knows about Sam's visits to the allotment, and her bigger role in the final minutes of the film, reveal how much of a concerned and dedicated mother she is.

Killing Thyme fulfils the purpose of any quality dark comedy - it takes bitter truths and makes them more palatable by adding comedic sugar. The happy ending of the film is undeniably sweet, but it is restrained enough that it doesn't get sickly sweet - Norman and Sam's future friendship is only hinted at.