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For all the film’s style and energy, its supposed insights are as soft and bland as its romanticized notions of the artist. Childhood memories seep into the sleep-deprived present, none more indelibly erotic than an incident involving a Swedish au pair.Īll of this is quite less than it seems. His play with time involves the past, too. For a few striking - and mildly creepy - moments, he turns a shoppers’ aisle into a living museum of unclad beauties and wanders, awed, among them.
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In the cold fluorescent atmosphere, the unhinged Ben discovers that he can put the world on pause, the better to indulge his fascination with female beauty. Increasingly, he’s drawn to Sharon (Emilia Fox), a pathologically bored cashier. Turning his extra waking hours into “cashback,” the sleepless Ben joins the night shift at the local Sainsbury’s supermarket, where he can suffer amid the packaged goods and withstand the idiocy of the self-important manager (Stuart Goodwin) and scooter-racing staffers (Michael Dixon, Michael Lambourne). Ben also receives advice from lifelong friend Sean, a good-looking guy with a talent for being slapped within the first minutes of chatting up any female he’s played with terrifically droll understatement by Shaun Evans. Thanks to Ellis’ eye for offbeat quotidian details, we get a glimpse of the processing lab’s quality-advisory label on an out-of-focus snapshot. Suzy moves on without pause while Ben, unable to sleep, studies the-way-we-were photos at 4 a.m. Twentysomething male viewers can connect with his character’s art-school sensitivity, romantic yearning and comedic fumbles, while enjoying the statuesque females on display.īiggerstaff plays genial art student Ben, who’s devastated by his breakup with Suzy (Michelle Ryan, soon to topline “Bionic Woman” on the small screen), an event seen in waggish operatic flashback, complete with an Ikea lamp brandished as a weapon. Lead actor Sean Biggerstaff, who played Quidditch captain Oliver Wood in the first two Harry Potter films, is a definite asset here. Stripped of its flourishes, there’s not much going on beyond a routine tale of growing pains, dressed up - or undressed - with philosophical fillips and wet-dream fantasy. The trajectory of “Cashback” is boiler-plate basic, but writer-director Sean Ellis infuses it with an imaginative sensibility that engages the viewer - to a point. Boy loses girl, boy loses sleep, boy finds new girl.