It's wonderful to see that Shane Meadows is already exerting international influence - LES CONVOYEURS ATTENDANT shares many themes with A ROOM FOR ROMEO BRASS: the vague class identity above working but well below middle, the unhinged father, the abandoned urban milieu, the sense of adult failure, the barely concealed fascism underpinning modern urban life. <br /><br />But if Meadows is an expert formalist, Mariage trades in images, and his coolly composed, exquisitely Surreal, monochrome frames, serve to distance the grimy and rather bleak subject matter, which, Meadows-like, veers from high farce to tragedy within seconds. <br /><br />There are longueurs and cliches, but Poelvoorde is compellingly mad, an ordinary man with ordinary ambitions, whose attempts to realise them are hatstand dangerous; while individual set-pieces - the popcorn/pidgeon explosions; the best marriage sequence since THE DEAD AND THE DEADLY - manage to snatch epiphany from despair.