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Made for the kind of money Hollywood studios usually lavish on finger buffets, everything (they couldn't even afford a capital letter) is an involving and gripping British drama/thriller about a man who visits the same prostitute nine days' running without ever soliciting sexual favours. Ray Winstone is his reliable gruff self as the mysterious client, but it's relative newcomer Jan Graveson who steals the show in a role that veers away from the usual 'tart with a heart' clich茅s.

Winstone is Richard, a taciturn but potentially violent man whose frequent visits to the flat of prostitute Naomi (Graveson) drip with menace. Is he just a nervous 'first-timer', a pervert who shows an unhealthy interest in the minutiae of the world's oldest profession, or a tortured soul with another agenda entirely? As the film's story unravels in hypnotic fashion, we're drawn into both people's worlds - Richard has more baggage than a hotel concierge; Naomi has serious problems of her own. When the moving resolution arrives, it manages the rare feat of being both signposted and completely unexpected.

"COMPELLING CHARACTERS AND COMMITTED ACTORS"

Writer/director Richard Hawkins shot everything on digital in nine and a half days and, given his limited time and money, devised a story which takes place almost entirely in the confines of Naomi's dank flat. Turning negatives into positives, everything is a wonderful demonstration of what you can do with few resources but a great story, compelling characters and committed actors. Everything most air-headed Hollywood productions lack these days, in fact.