Dead In A Week

In the depths of the dark comedy genre, the film Dead In A Week (Or Your Money Back) boasts a thought-provoking twist on your typical gloomy subject matter. Released in 2018, this film sees the sublime talents of Tom Wilkinson, Aneurin Barnard, and Marion Bailey entwine to create a genuinely entertaining and deeply engaging narrative. The film, directed by Tom Edmunds, explores the depths of despair and the comedic flip-side of underground industries. It is a tale tinged with an unusual business contract, sardonic humor, unusual relationships, and an exploration of life and its worth.

Aneurin Barnard plays the central character of William, an introverted and deeply disappointed young novelist. His character can be seen as a parody of the brooding artist who is consumed by much more than his failures in professional life. Plagued by 27 failed suicide attempts, William finds himself in a state of despairing surrender, mired in desolation, and captivated by the idea of a final escape. His dismal countenance is underlined by his muted interactions with the world that lacks the vibrancy he desires.

Enter Tom Wilkinson as Leslie, a veteran, and contract killer looking to reach his killings quota before retiring from an underground guild of assassins, led by the intimidating Harvey, played by Christopher Eccleston. Afraid of compulsory retirement, Leslie sees a business opportunity in William's suicidal tendencies and offers him a contract he can't refuse. Leslie's professional pride, his mundane approach to his dark trade, and the bureaucratic structure of the hitman corporation adds a whole new level of dark hilarity to the narrative.

The striking desperation of William and his acceptance of Leslie's peculiar proposal leads to a unique bond between the two, as the seemingly jaded hitman and the despondent author both find something they're missing in their unusual camaraderie. In stark contrast to his persona, Leslie's wife, Penny, played by Marion Bailey, depicts a sense of normality and brings a touch of domesticity to her character, oblivious to her husband's grim profession.

As William begins to orient himself amidst this crazy turn of events, his life takes another dramatic twist as he finds romance in the form of a book publisher, Ellie, played by Freya Mavor. The blooming love and a sudden offer of publishing take him by surprise, making him reconsider his death contract and see life from a new perspective, setting the stage for a complicated turn of events.

At times absurd yet poignant, Dead In A Week offers viewers an insight into life's perspectives from disparate points of view. It delves into the ironies of life and death, as well as the strange dynamics of abnormal relationships and their eccentricities. The film engenders an exploration of life's value, challenging the notion of hopelessness while imbuing a sense of wonderment at the resilience of the human spirit.

The movie presents a blend of profound emotions behind a brilliantly executed dark comedic backdrop and takes the viewers on a roller coaster ride of jarring emotions and bleak wit. While it deals with melancholy and bleak thoughts, the dark comedy helps to maintain a balanced narrative and prevents the narrative from becoming excessively depressing.

The film's principal strength lies in its stellar performances - particularly Barnard and Wilkinson - who bring a unique charm to their flawed characters. They manage to humanize the bizarre narrative with their robust portrayals, creating characters that are as empathetic as they are quirky, and infusing the film with a strangely endearing quality. The role of William's newfound love interest, Ellie, underlines the unpredictability of life and the potential of finding hope in unexpected places.

In conclusion, Dead In A Week is no ordinary black comedy. Its brilliance lies in its ability to tackle serious themes with humor and wit, unafraid to poke fun at even the darkest aspects of life. Its unusual premise, quirky characters, engaging narration, and profound observations make this film a must-watch for fans of both comedy and introspective cinema.