It also helps when ultra-eye candy actress Amber Heard is the femme fatale (in more ways than one) ever since Pineapple Express she’s remained a most alluring screen presence, and it’s clear that Cullen knew what he had on the other end of his viewfinder when he was setting up his mise-en-scene. It’s got a stunning sense of visual craft, with textural compositions that are strikingly bold and frequently eye-blazing, and the film’s noir-esque plot of a distressed writer (Billy Bob Thornton) trying to make sense of his reality and the story he’s in the midst of writing always remained interesting and unique. So while I can’t compare the director’s cut to the producer’s cut (or the novel which the film is based on), what I can state is that I very much enjoyed watching Cullen’s preferred vision of London Fields. Cullen, founder of the visual effects company Mirada, has a background in commercials and music videos, and got his chance to play with a massive piece of storytelling for his feature debut, and I’ll be curious to see what he does next, especially if he gets the chance to make a film and not become entangled in production nightmares. So when the opportunity presented itself to view Cullen’s personal director’s cut, I jumped at the chance.

I had no clue about the behind the scenes issues (Cullen battled the producers over his final vision with a compromised cut recently getting released in theaters on a semi-wide platform), and regardless of those various problems that the creative parties had with each other while making and finishing the project, I don’t care about any of that stuff – I care about the movie in question.

Up until a few weeks ago, I had no idea about Mathew Cullen’s new film, the much discussed, often maligned, and barely-given-a-chance London Fields.

“Toydrum’s musical score is brazen and fully alive at all times, and the sometimes surreal juxtapositions of archival footage mixed in with glossy cinematic artifice keeps the viewer disoriented and wondering what might happen next.

❉ Mathew Cullen’s new film, the much discussed ‘London Fields’ has an eye-blazing sense of visual craft, and the film’s noir-esque plot is interesting and unique, writes Nick Clement.

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