Bringing first-time screenwriter Stephen Morris’ tale to the big screen, James Marquand’s Between Two Worlds follows struggling writer Ryan, recently dumped and under copious amounts of pressure from his tight suited, slave driving agent to produce his next masterpiece. Though initially there’s much promise in the film’s set-up, eventually it all tumbles downhill miserably in a sea of every cliché known to man.
We have the intellectual, our writer Ryan (Chris Mason), the film star Connor (Lucien Laviscount) and of course the lad John played by UK musician Example, whose real name is Elliot Gleave. It’s a misjudged piece of casting, and when making the transition from singer to actor, there is a very fine line between making it work and failing miserably – and regrettably this turn falls into the latter camp. It’s certainly no Will Smith or Mark Wahlberg, instead somewhat more akin to the likes of Jessica Simpson and Snoop Dogg. Of course, in this instance, this isn’t just a fault of the actor, it’s to do with everything that comes with it, as he hasn’t been dealt with an interesting enough character.
Despite all the kinks that need to be ironed out, Example does, however, offer us some laughs. Although, as you giggle you will be asking yourself if you are laughing for the right reasons. The dialogue seems so contrived, and the bleak back story, included to enhance our sympathy for Ryan, doesn’t work considering we see him partying the night away, and sleeping around. Not really struggling at all. Ultimately, the only thing any of these characters do genuinely seem to be struggling with is finding a stable relationship. The filmmaker uses the city to evoke a feeling of romance, yet the London presented to us is full of stumbling drunks and enough fake tan to paint Essex.
Between Two Worlds seems stuck in the middle of a rut from the word go. A cocktail of poorly written dialogue, regurgitated subplots and laughable nightclub scenes. In no way helped by the distinct lack of structure and vision, what transpires is a shell of a film where privileged kids moan about futile aspects.
