With The Football Factory still reverberating in the memory, it's difficult to get as excited about a film like Cass as one would like; a piece living in the still-recent shadow of such a film whilst calling on direct influence from the likes of 2005's Green Street as well as bits and pieces of an older crime film, albeit disconnected from hooliganism, in the form of De Palma's Carlito's Way. Indeed, Cass' director is a certain Jon Baird; a man who worked on Green Street as an associate producer - his film here formulating into a similar tale of a "white crow" and their consequent exposure to a world around them they are inherently alien to. This, before undergoing a gradual inception into it. It all smells suspiciously of said example's Elijah Wood character, an American getting lost amidst the sociological norms of a hooligan-dominated zone and having to undergo this process of initiation so as to get by. A similar framework of someone as much-an outcast to their surroundings getting involved, before realising the nature of one's ways and one's life, is told here, only over the space of about thirty years and not as engagingly.The film follows that of true-to-life criminal-come-hooligan turned author Cass Pennant; a man whose tale here is as true as they tell us it is, and yet doesn't carry that naturalistic sense that it is someone's life actually progressing from one point to another. Told in glaringly episodic fashion, a fresh popular song peppering the soundtrack every time the era jumps forward, Nonso Anozie plays the titular lead: a man of Jamaican descent adopted at a young age by a white London couple in the 1960s, and brought up as their own in decent, friendly home-set surroundings. As a youngster, he is marginalised and ridiculed for his colour; a safe haven arriving in the form of a local public house practically run by the fans of West Ham United, whom welcome him in if it means he's a fan of the team and help him out when he runs into those racists outside of hours. This sense of unity is epitomised by the singing in unison those within carry out; football shirts and scarves in the club's colours reiterating this sense of being at one. In an attempt to instill an early sense of where we're at, we observe The Football Factory's own Tamer Hassan doing what the character of Billy Bright did in Nick Love's said 2004 film, when pub-set shenanigans give way to the intimidating of a young kid who thinks he can intermingle with those above his weight.Cass is apprehensive of going to football to begin with; not even his father's reiteration that the stars of the day and certain World Cup winners will be there appears to convince him, but he rides it out and then discovers a taste for what lurks beneath the following of a football team. Thus that of what we see of Cass' life is launched, his descent through hooliganism and organised violence; a world in which the attraction of a footballing 'firm' facing off against another is more appealing than the match itself. West Ham's biggest rivals in this regard are Leeds United, not out of geography nor the fact they are both of an immensely skilled nature alá the Real Madrid-Barcelona ties, but because these two fight the hardest.What transpires are several 'bits' and pieces of Pennant's life: his first feel of football violence; his going to prison; his meeting of a girl; his getting wind of a business venture, none of it much more than slightly interesting and all of it propped up with a lacklustre script seeing dialogue made up of insults and lots of four letter words predominantly coming from that of the males therein with meek moral out-linings accompanying spots of common sense exuded by the females. Director Baird strikes us as someone doing their utmost to make a good film, maturely; his veering off down a route to encompass a sub-plot inspired by Carlito's Way, as well as the fact Cass is later released from prison to the same sound of pomp and circumstance that saw Alex De Large enter prison in Kubrick's A Clockwork Orange, suggests the man has seen his fair share of films; enjoyed them and desperately wanted to make his own whilst pay homage, but there is no cumulative whole around which everything gels. Its politics may be in the right place but the film's overall feel as you both watch it and absorb it is that of unsmooth; as if it's fumbling around in the dark for the right buttons, sometimes finding them, but doing its utmost overall to do the right thing.

The trouble with movies like Cass is that they are not bad films by any means, nor do they fail to entertain or live in the memory. It's just the memory already seems overloaded with literally dozens of these flashy, flashback, 80s set designer violence dramas that glorify the exploits of the disaffected youth through their frustrations inside and outside football stadiums. Whilst the obvious difference with this film is that the main character must overcome not only tribal football clashes but the added dimension of racism as well, you can see why the book originally written by the main protagonist himself purported to offer such a rich vein of narrative to adapt into a film. But these kind of movies are now so commonplace, they struggle to offer something new that we haven't already seen many times over. And for that reason the slightest slip up can be catastrophic, and any loose direction or production can see a movie like this lurch from the sublime to the ridiculous quicker than it takes to whack someone with a knuckleduster. Nonso Alonsie plays the lead role with passion and controlled aggression, but somehow fails to quite deliver the same menace as the real life 'hero' himself. Witness (Cass) Pennant in his own words in the special features available on the DVD and he is much more able to display a propensity for violence just bubbling neatly under the surface. But the movie is well worth watching, and doesn't outstay its welcome. It's difficult to recall when the conveyor belt was switched on with this genre, it possibly goes back to the 70s with Alan Clarke's 'Scum' but as a viewer one is just waiting for Danny Dyer to pop up at any moment. Instead, we have Tamer Hassan on hand, who is thankfully a reassuring presence, albeit a familiar one. The movie perhaps also deliberately decides to pull back from the glorification of graphic violence, and is all the better for it.

This film was of a real interest to me as it was produced by the same producer as Green Street, and having watched it I feel more informed, if a little frustrated.The film centres around the character of Cass Pennant, a real life hooligan and 80's icon for hooliganism. Adopted into a white family, in an age of racism and violence, Cass finds his natural environment in the place where you would have thought he would be the biggest victim.The script is based on Cass Pennants book 'Cass', and you can't help but feel it was copied and pasted from novel to script. The main problem is that this could have been one of the best football thug films if they had managed to get decent actors. Not that they don't do a good job, its just not great. Nonso Anozie is pretty good as the main character Cass, its interesting to see a generally soft natured character flip out now and again in a hooligan film instead of the typical hot-headed cockney. The rest of the cast however don't support him very well, and it seems as though they are forcing the drama rather than acting in a biopic. Overall though, its an interesting insight into a real character in hooliganism, how he ended up, and kept going back, in the hooligan 'business'. If you are looking for another rise of the foot-soldier or a football factory type film, then this may not be for you.

STAR RATING: ***** Saturday Night **** Friday Night *** Friday Morning ** Sunday Night * Monday Morning A film highlighting the true story of Cass Pennant (Nonso Anozie) a baby born to a Jamaican mother who was raised by a white working class couple who's doorstep he landed on. The film charts his youth getting his first taste of football violence in it's heyday of the early 70s, through to a decade later when he was leading London's top firm The ICF (Inter City Firm) into battle, which ended up getting him a lengthy spell in jail. He came out and tried to turn his life around, getting into the nightclub doorman business, but his past caught up with him and after an attempt on his life, he turned his back on his old life for good, and is now respected as a renowned author.After the true life story of Carlton Leach was documented in the woeful misfire Rise of the Foot Soldier, Cass arrives trying to do the same thing with (black) ICF leader Pennant. "The Football Factory meets This is England" a praise caption (for want of better phrasing) proclaimed when I first saw the poster for this. Okay, already I was thinking 80s Britain, Thatcher, hooliganism, a bit grim. I wasn't disappointed in this respect, but in others Cass did disappoint me quite badly.For a film that's ended up on the big screen, the film looks remarkably cheap, like it's more suited as a TV film than here. Up until the end, for some reason director Jon S Baird has shot his film in a grainy, blurry style that you can't help but notice. Maybe this was to help give off a feel of how bleak and grim life in England during the 70s and 80s was, but it didn't come off as too subtle with me. The use of stock footage from old news reels showing the football violence also didn't help in this respect. But aside from this, the film goes to great pains to dramatize Cass's life story veering away from any exciting football action, but rather than involve us in the end the film has come off more as dull and boring unfortunately.The film benefits from an undeniably fine lead performance from Anozie as the titular character, an articulate thug with a lot of pent up anger in him but who also has an intelligent side that comes to be his guiding light. He does try and justify his actions at points by blaming them on Thatcher, as when talking about his clashes with police at games, saying 'they were her army versus ours' without realizing no matter heavy handed they might have been, they were trying to stop violence rather than cause it. Nathalie Press as the girl who becomes his wife tries hard but her voice is rather annoying and grating and this put me off a bit. Leo Gregory, who was also in Green Street, is good in a supporting role as Cass's mate. Tamer Hassan does his usual glaring, quietly menacing hardman act and Dennis Pennis himself Paul Kaye also does well as the man behind Cass's shooting. Performances wise, there's really nothing wrong with the film, it's in other areas it lets itself down.The distributors picked a stupid time to release it, as it really didn't stand a chance at this time of year, up against bigger films like The Dark Knight, the new X-Files film and The Love Guru. I remember seeing a little feature on it on the news, which now makes me think it was just desperate for any publicity it could get. It had about one showing time when I went to see it, but the theatre was packed and it seems to have had a stay of execution for this week too, so maybe it'll do better than it seemed.It's not awful by any means, with some strong performances and an interesting story, that sadly came off as dull rather than how it should have. **