Mat Whitecross’ follow up to SEX & DRUGS & ROCK & ROLL, the twisting and illusionary ASHES, takes time to find its feet and to develop a consistent tone. When it does, however, and settles into the hallucinatory and well-crafted visuals, Whitecross delivers a film that avoids predictability with narrative ducks and weaves, anchored by a versatile performance from Ray Winstone.

Ray Winstone plays the Alzheimer’s-afflicted Frank, a previously formidable man confined to a residential home, a shadow of his former self. James, after many months of searching, finally finds his father figure and breaks him loose from a nursing home, beginning a rather dangerous road trip laced with gallows humour. However, with Frank’s mind failing and James’ motives unclear, the film gradually unravels the past of both.

…once [ASHES] stops weaving all over the road (much like Ray Winstone’s Frank), it settles into the visuals and an involving and twisting drama emerges.

At first, the tone of the film jumps all over the place in a grasshopper-like fashion. One minute social drama, one minute dark comedy, another minute farce, and even a scene emulating ONE FLEW OVER THE CUCKOO’S NEST. There is plenty of awkward dark humour to be found in the story, of that there is no doubt, but the opening segment feels slightly confused. In addition, although the way Whitecross has blended more than a few genres is interesting, the film only really becomes compelling once it settles into a tonally consistent noir-thriller mix. Fortunately, it doesn’t take long to do that and once it stops weaving all over the road (much like Ray Winstone’s Frank), it settles into the visuals and an involving and twisting drama emerges.

Ray Winstone is terrific as Frank, portraying a caged beast of a man. Every so often, he still erupts and it is hard to imagine anyone else playing the role. This isn’t to say that Winstone has it easy, simply that his compelling but unshowy presence adds a lot to our understanding of Frank. By bringing something of his own reputation, as well as having a decent script to work from, the honesty behind the role stops it from simply becoming Winstone award bait.

Whitecross’ lens has become the classic unreliable narrator, in the manner of Verbal Kint’s narrated false flashbacks in THE USUAL SUSPECTS or FIGHT CLUB’s nameless protagonist.

Once reality and false memory becomes blurred, the visuals crafted by Whitecross and his team are fantastic. Although there is a Lynchian feel to these, and Whitecross has admitted a great admiration of David Lynch, there is nothing particularly surrealist about them. Whitecross’ lens has become the classic unreliable narrator, in the manner of Verbal Kint’s narrated false flashbacks in THE USUAL SUSPECTS or FIGHT CLUB’s nameless protagonist. In fact, this aspect isn’t the only echo of David Fincher, with the style of the opening credits strongly evoking FIGHT CLUB. With all this, a narrative has been created which twists and turns in an engaging way: it slowly elicits more sympathy for Frank, whilst building up a portrait of an antihero that, although his mind is failing, should be patronised at your peril. Jim Sturgess also does an excellent job; although his role subtly shifts throughout the film, his ability to mix affection and frustration never seems forced.

Although you could argue the third act lacks some of the emotional impact promised, ASHES is a commendable film with strong leads. Whitecross has created a film with a strong vision that, by and large, it executes engagingly well.