Shopping

1994's "Shopping" (stylized as "$hopping") is a movie that I first came across during the late-night cable hours as an impressionable 10- or 11-year-old growing up in the mid-1990s. Of course, due to the fact that I was such an impressionable young child growing up at that time, my parents were keen to keep me away from "Shopping," a film with a futuristic, industrial-heavy aesthetic that appeared to glamorize auto theft, ram-raiding and unsavory, Adrenalin-addicted thrill-seeking young car thieves. (And not so surprisingly, this helped the film to generate a controversy in the United Kingdom for supposedly glamorizing criminal, anti-social behavior.)

"Shopping" is mostly remembered for being a noteworthy early film credit for its two leads, as well as being the directorial debut of a then-29-year-old Brit named Paul Anderson (who now goes by "Paul W. S. Anderson" to avoid confusion with American filmmaker Paul Thomas Anderson). Paul Anderson would later gain worldwide recognition just one year later for his American film debut, "Mortal Kombat" (1995), which is a film I love to death and to this day I still consider it to be the greatest film adaptation of a video game.

"Shopping" is a stylish, yet promising debut for Anderson, whose career has since been a wildly mixed bag of occasional high points (the aforementioned "Mortal Kombat," "Event Horizon," "Resident Evil") and several missteps ("Soldier," "AVP: Alien vs. Predator" and virtually every "Resident Evil" sequel he's directed, pretty much).

"Shopping," nonetheless, showcases what would later become Anderson trademarks: excellent set design and cinematography, fast-paced direction, and a wall-to-wall soundtrack with an industrial/techno vibe to it (Orbital's "Halycon + On + On," which is featured prominently in the film several times, appears to be a personal favorite of Anderson's, since the song was also played near the end of his later "Mortal Kombat"). "Shopping" is set sometime in the not-too-distant future in London, and centers around the so-called "sport" of "shopping" - stealing high-priced cars and then ramming them through department store windows, looting them, and then evading the police.

Billy (Jude Law) is probably the most notorious of these young, early 20-something ram-raiding punks. He, along with his casual would-be love interest, the video game-loving Jo (Sadie Frost, Law's future real-life wife), hit the streets (and stores) after he gets released from prison at the beginning of the film after doing three months for auto theft. Although it doesn't take long for Billy to fall back into old habits once released, his "shopping sprees" are becoming more and more ambitious, and reckless, as his targets become bigger and bigger. As the stakes rise and his notoriety grows, it catches the attention of his old rival Tommy (Sean Pertwee, an Anderson regular), for whom the sport of "shopping" is a business, since Tommy makes money selling off the goods he steals. For Billy, it's nothing more than an Adrenalin rush that he claims is better than any drug and is to a degree (for him, at least), an art-form. So it inevitably sets the two of them down a path toward a head-on collision.

"Shopping" is a stylish and ambitious debut feature from Paul Anderson that established many of his trademarks - most notably his love for industrial music, and this film revels in its striking industrial-futuristic ambiance - but also shows his weaknesses, namely weak characterization, spotty writing and story. His non-written directorial works ("Mortal Kombat," "Event Horizon," and even the hokey "Soldier") were better showcases for Anderon's strengths as a director because he didn't have screen-writing credits attached to these pictures, but instead worked because of his stylish, fast-paced direction. Here, Jude Law and Sadie Frost give stellar and enthusiastic performances in roles for which they were young and relatively unknown to American audiences (at the time), and have since become more widely known.

Watching "Shopping" for the first time since I was a child, it's an impressive debut from Paul W. S. Anderson, in spite of his flaws (of which there are many), and is something that can happen with any early effort from any director.

6/10.

Released from prison after three months, Billy wastes no time in getting back into his previous life of stealing and joy riding. Night one back on the streets sees him and girlfriend Jo racing through the streets in a stolen BMW pursued by the police. Not long after he is right back into the "crash and carry" habit, essentially ram-raiding a shop and getting away with as much stuff as possible before the police can respond. However a raid on one shop brings him into direction conflict with gang leader Tommy – who had already arranged a big money deal with Venning to hit the same shop.

At the time of release this film benefited from the Daily Mail and other Middle-England tabloids ringing their hands with worry and condemning the film for encouraging youths to replicate the crimes in the film. Over a decade later, stripped of the hype and "controversy", Shopping looks quaintly dated and the portrayal of disaffected youth in a neo-light strobing world of crime and attitude seems old fashioned and a bit silly. This isn't helped by the fact that the script never aspires beyond this basic aim and characters that are never developed beyond the most basic of motivations. The idea that some foreign viewers would watch this and take it to be a realistic portrayal of modern Britain in rather hilarious to me but in fairness, films are under no pressure to be real. This still leaves a fairly simply story with some very poor dialogue and not much material to work with.

Anderson's direction is solid enough in terms of style though – which is really where his strengths continue to lie; but as a result he seems to have a limited interest in depth and his input as writer is to blame for the problems with the material. The cast match this by being pretty and famous but not doing much else. Law is skinny and bland and doesn't do anything other than looking like he is having a teenage strop for the majority of the film. Frost isn't much better and it is left to Pertwee to easily steal the film as a memorable if simple tough guy. James is OK while small roles from Bean, Faithful, Pryce and Walker make the film feel crowded with famous faces – not that any of them add much value outside of this.

Overall this is a stylish film but one that now looks dated and rather empty. Without the controversy not much is left and the story and characters are too simple to engage most viewers I would suggest. Interesting to see as part of looking at early work for several British actors but probably not interesting or engaging enough to be worth a look on its own merits as a film.

This movie is an interesting debut from Paul (WS) Anderson. Dark sets and cool visuals teamed with techno music really get you going. You can see the visual style from the director Mortal Kombat and Resident Evil.

Speaking of MK, that Orbital song is used in this movie too.

I think this is the first film were Jude Law actually looks prettier than his female co-star.

This movie is really lacking a point. What kind of story were they trying to tell? Was there even a purpose or message to this all?

Paul W.S. Anderson always has sort of been the king of mediocre movies. I have yet to see a Paul W.S. Anderson movie that is above the level of average. Not that his movies are horrible either, some of them are quite enjoyable but they just fail to make an impact in any way.

All that this story is about are a bunch of rebellious teens being lazy and act as if the police are the biggest scum and villains on the Earth, while they are the ones breaking about ever law and causing mayhem, by stealing and wrecking stuff. It could had been a good or at least interesting story if it tried to make a statement about anything but the movie never does. At least I didn't get anything out of the story at all.

It also doesn't exactly make any of the characters likable or compelling ones to watch and follow throughout this movie, despite that they are being played by some big name actors. Not that they were being big at the time yet. The movie features a still very young Jude Law and Sadie Frost and a supporting cast that among other consist out of Sean Bean, Jonathan Pryce and Jason Isaacs. Most of the characters however also make a pretty redundant impression. It tries to be a simple movie with a simple story but yet in throws in all these many pointless characters.

It's not the worst movie you'll ever see but it's such a pointless and redundant movie to watch that there is no reason why you really should ever watch it in the first place.

5/10

http://bobafett1138.blogspot.com/

For kicks, young and beautiful Jude Law (as Billy) and disaffected tough Sadie Frost (as Jo) steal cars, drive them into stores, and trash the places. They call it "Shopping". A rivalry develops between the two joy-riders and smarmy Sean Pertwee (as Tommy), who is the best store thrasher in the English neighborhood. Director Paul Anderson's star displays only a fraction of his later acting success; surprisingly, most of the spark occurs between Ms. Frost and Mr. Pertwee. "Shopping" seems meant to be compared with "A Clockwork Orange" - a certain musical interlude drives that point home - but, neither Mr. Law nor the film approach Malcolm McDowell or Stanley Kubrick. Not that it doesn't have style, mind you. And, Jonathan Pryce, Sean Bean, and Marianne Faithful help make the trip. Anderson should have ended with Law being thrown from the car into a bloody display with the store mannequin; instead, he blinked...

***** Shopping (6/24/94) Paul W.S. Anderson ~ Jude Law, Sadie Frost, Sean Pertwee