Konterr Brilliant and touching

Dorathen Better Late Then Never

Gurlyndrobb While it doesn't offer any answers, it both thrills and makes you think.

Yazmin Close shines in drama with strong language, adult themes.

Red-Barracuda Boy George can certainly be described as an 80's icon. I distinctly remember as a youngster first seeing his band Culture Club perform 'Do You Really Want to Hurt Me' on some kids TV show some time in the early 80's and then seeing him interviewed immediately afterwards and being utterly amazed he was not a she. I seem to recall fellow school-mates being somewhat flabbergasted about this the following day too. These were less enlightened times as far as homosexuality was concerned, so I guess Boy George was even more of a cultural happening taking that into account. Despite his image, part of the reason Culture Club became so massively popular was that George himself was never promoted as threatening sexually, while the band's music was very contemporary new wave pop with little edge. But like most things that connect so fully with mainstream culture, the fame and success only lasted a fairly short while.This TV biopic is unusual in that it hardly focuses on the Culture Club years at all. Instead, it covers George's pre-fame and post-peak tabloid celebrity years. In doing this, it sort of misses out the most dramatic section of the story and looks at what led George there and how it affected him negatively afterwards. This approach means that you have to accept what the film is not, although it definitely makes the story more small-scale and lower key. The early years are typified by the fashion scene that revolved around the Blitz Club which was populated by the New Romantics; while the later scenes happen in the midst of George being hounded by the press over his reported heroin addiction. The film flashes forward and back to these two periods to tell the story. And in some respects it's quite a limited story in all honesty. The early years were typified, after all, by George not really doing a lot and gaining minor celebrity for merely wearing the right clothes. One of the more notable events happens when he briefly hooks up with Malcolm McLaren – very well played by Mark Gatiss – and is photographed with his then pop pets Bow Wow Wow but little came of this, so it's just a colourful detail.Mainly the film works as a time capsule movie, where we are transported back to the early 80's. Several characters from the New Romantic scene appear, such as Steve Strange, Marilyn and Kirk Brandon; the latter of which had a sexual affair with the singer. The costuming and soundtrack have been chosen well and despite the low budget, it's convincingly of its time. The main acting duties are covered by newcomer Douglas Booth, who is decidedly more androgynous than the real Boy George. He puts in a pretty good performance, especially when you consider he was only 17 years old at the time. On the whole, this is a film that should appeal to those who like biopics about popular music figures. It might not be the most dramatic story but it is well told for what it is.

wadechurton Sure, Culture Club were a pleasantly colourful English pop group from the wacky pastel-and-frills, gender-bending pop scene of the early 180s. I'm not a fan, although they did have a catchy song or two and an amusingly cute line with the press regarding sex, drugs and other facets of fame. However, I am an historian and an appreciator of bio-flicks, and this one does no-one any favours. Much of the movie's tiny budget seems to have been spent on costumes and makeup, and of course no-one goes outside for any length of time lest viewers catch sight of something which is not of the early 1980s. Also, I never knew that the interior of the famous Blitz club resembled someone's rather shabby living-room. Nor did I realise that the patrons were exactly the same every night or that they didn't seem to change their clothes. Unless of course the director simply filmed all of the scenes set at Blitz in one go to save money and time. There are virtually no contemporary period 1980s pop-songs, undoubtedly because the movie makers couldn't afford them. Instead there are cheesy 'approximations' of the likes of Duran Duran and New Order, along with much bland, anonymous 'techno' filler. George's brush with Malcom McLaren and Bow Wow Wow (ironically a band with a much more interesting story) is told, amid a confusing screenplay which makes much of confusing flash-backs and flash-forwards. Plus the time-period under consideration ends at 1987, so don't expect to see The (aged, balding) former Boy sweeping the streets to pay his debts to society. Okay, the acting is actually pretty good but sadly the movie is just another conspicuously cheap TV-movie styled bio-pic. And by the way, if you're waiting for Culture Club to form and start playing already, be prepared to sit it out until the very end and an incomplete, horribly-mimed rendition of 'Do You Really Want To Hurt Me?'

The Man The Myth Having only recently read 'Take It Like A Man', Boy George's compelling and brilliantly entertaining autobiography, I was excited by the prospect of this. I've never been a Culture Club or Boy George fan, but I love tales of rock 'n' roll excess and I was happy to find the book did exactly this.This film, however, proved to be a bit of an anti-climax. Whilst everything appeared to be accurately depicted and the era authentically portrayed, the problem was that it stopped just as things were getting interesting. The book really came into its own once Boy George and Culture Club found fame but film stops dead at this point, with the exception of a few flash-forwards to 1986 when George was engulfed in controversy and smack addiction. I appreciate what went on before is relevant but what was shown in the film should have been condensed down, allowing the majority of it to focus on what happened thereafter. But I guess that ultimately wasn't the point.I definitely think George's fame, popularity and infamously colourful life warrants a screen adaptation, but merely giving us an insight into what went on beforehand makes me think this was a missed opportunity.On a slightly more positive note, to hear that the lead was only 17 is astounding and he did a terrific job in what must have been a very challenging role.

delilah55 Douglas Booth made an utterly stunning and very watchable Boy George, capturing his sharp witted and ultimately rather romantic character without ever resorting to campness or cliché. I enjoyed this drama for the gorgeous recreation of what must have been a fascinating time in London's cultural history and the fabulous design of the costumes and sets. But even though the dialogue at times sparkled (special mention here for Freddie Fox playing a magnificent Marilyn) it was rather a case of style over substance. The story just felt very thin and although there were some surprisingly touching moments (with Kirk as well as John Moss) there just didn't seem enough story here to sustain an hour and a half. I felt the addict section of the story really limped along and felt underdeveloped and unnecessary in particular. However they did a good job of making the characters engaging and likable and for that reason it was worth the hour and a half spent with them. I just would have liked to have seen a bit more of events, and also a bit more about George's motivations - what made him who he was.