London to Brighton is a superb slice of British crime pulp; a no nonsense, down and dirty tale of two relatively weak individuals, given the parameters of the genre, desperate to get away from the lifestyle they've grim-and-bared up until this point. Systematically, one particular character must balance evading capture with the taking on of the moral responsibilities that come with looking after a much younger individual they've unwittingly roped into this world by way of child-prostitution. If there is a distinct shrill ringing throughout us as the film plays out, it's because while conforming to gangster genre conventions, we see most of the world and most of the film unfold through the eyes and ultimately with two females: a very young girl and a middle aged woman, two people we feel are under threat and will have harm come to them if they're caught. This is in stark contrast to usual crime film fare; in which crime infused males can be on the run, or can owe a debt, or whatever  but do not necessarily carry the same vulnerability. Thus, London to Brighton, with its scuzzy and raw feel, comes across as scarier; more frightening in its depiction of a world, the characters within and overall attention to genre.<br /><br />The girls on the run are twelve year old Joanne (Groome) and the much elder Kelly (Stanley), a prostitute. They're played by two actresses more familiar to televisual work and as low-down supporting roles in feature films, but here are given the chance to shine in lead roles, snapping up the opportunity in the process. Their predicament is a set up that can be pitched in little to no words, immediately getting across a sense of urgency. The film begins with the two in a public toilet; panic-stricken and acting in nervous manner; something's gone wrong and they're about to go on the run from a London based crime syndicate as those connected to the organisation chase them.<br /><br />The film gets across a sense of the sort of danger they're in without ever really showing anything, instead opting for the talk of an off screen event or individual. On this occasion, the talk of potentially of going to prison for what it is they've done is most prominent an item of which plants seeds of great worry in our minds as we observe these relatively hapless, physically out of breath with their clothes torn and clearly in a bad shape, people stumble through the seamy, low-level based locations they inhabit. The introduction of Derek (Harris), Kelly's pimp, and the potential threat that he carries as a character is only brought into perspective when it is revealed he answers further still to an individual higher up than he is; the son of the leader of this organisation. Where Derek is more extroverted and animated; Stuart (Spruell), the higher up, is calmer, dresses more formally and talks in a quieter manner which quickly pushes the boundaries out further as to whom acts as more of a threat, without taking away any of the initial menace Derek inhabits. This minute, but observed ploy, captures the film's tone of getting in deeper; of assuming something to be of a specific nature but then having to recognise a new threat, or new predicament, which furthers feelings and emotions.<br /><br />As an event which spawns the mess everyone finds themselves in, it is revealed that Joanne is a runaway wondering the streets of London, and is quickly picked up by both Derek and Kelly when it is made apparent a local crime boss, Stuart's father, wants a younger girl to feed some depraved sexual cravings. Joanne carries with her a mouth, an ability to small talk her way through conversations with adults that we truly feel she might actually possess. The locale in which she is required for whatever perverted plans are in store for her is presented by way of brilliant, white light; a blinding light that reflects off of seemingly marble walls; floors and white pillars dotted around the room. The mise-en-scene and colour gives it a disturbing sense of resembling ancient Rome, specifically in appearance; in all its rich, beautiful, robe-decked in-glory. The sheer contrast of locales between what we're presented through the cities of London and Brighton, the latter of which itself looked like a sunny; beach-housing; amusements displaying safe haven compared to London, is stark, disorientating and disturbing.<br /><br />The film really is fine feature debut, amongst the best of last decade and sits alongside works such as Donnie Darko; One Hour Photo and Memento. There's a real sense of terror in London to Brighton; an immediacy which you feel is born out of the two female leads and their place in the film working within a genre which would usually, in terms of Kelly's role as a prostitute, see them relegated to a nothing supporting role or to act as mere eye candy. Its willingness to have its women act in an independent and strong manner sees them break away from orders in a very male dominated world, that of crime, and renders them characters whom have limits; morals and know that when the line is to be drawn, it must be drawn, no matter what the consequence or whom one is dealing with. London to Brighton forms an exciting passage of film-making out of a relatively routine idea, with guided attention toward mostly all of the characters, Stuart of which goes through his own series of frightening changes later on; awareness of how the film should 'look' at very specific points and gets the best out of a low-key cast. Director Paul Williams has triumphed.