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Set in a dystopic future London in 2015, where society has fallen apart, gangs have taken over and the economy is in complete anarchy. The story follows Junior and his older brother, Rager, who are in charge of a local gang, "The Paper Chaserz". They try to stay out of trouble and refuse to kill as part of their 'moral code', which is especially enforced by the strong but defensive Rager. Rager leads his gang, "The Paper Chaserz" and they plan to steal goods out of a local van. The robbery is successful, but a rival gang called The Soldiers, who are notorious and bloodthirsty in trying to take-over all other postcodes in the London area, attempt a theft. The "Paper Chaserz" escape, except for Junior who is stranded and cornered by The Soldiers. Rager reappears and saves his brother by beating all the rival gang members, telling Junior to leave. As Junior flees, Rager is attacked by the crews leader Tugz, who stabs Rager in the back multiple times. Junior now teams up with the rest of ...
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With an opening sequence copied from DISTRICT 13 and an entire storyline and setting copied from KIDULTHOOD, there's nothing remotely original about SHANK. It juts and jumps all over the place, telling a storyline of revenge and brotherhood that's been done to death a zillion times already. It makes you feel like this particular genre of gritty, London-set gangster film is dead in the water, although a film came along a year later that proved there was still life in the genre yet: I'm talking about 2011's ATTACK THE BLOCK, of course.nnSadly, SHANK is nothing like ATTACK THE BLOCK. The script is dead-headed stupid, the characters clichéd and the frenzied editing actually nausea-inducing. The obnoxious leading characters are repulsive in the extreme and their quest to undertake revenge seems to go absolutely nowhere; by the time the film ends, absolutely nothing has happened to any of them. There are no character arcs whatsoever.nnI don't know what's worse, actually: Paul Van Carter's wannabe-hip script or Mo Ali's drug-addled direction. Put together they provide a nauseating example of all that's wrong with British cinema when a successful film comes along and the inevitable rip-offs follow.
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