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Shani S. Grewal
Writer, Director, Double X (1992)
One can only await with eager pessimism the further work of its writer-producer-director, a gentleman calling himself Shani S. Grewal - which is, as the publicity blurb says, "a name to remember". Perhaps at last we have found a cinematic equivalent to the great poet Wiliam McGonagall, a world-class incompetent to rival Edward D. Wood Jr (1922-78), the legendary American auteur responsible for such cinematic horrors as Plan 9 From Outer Space. Double X marks a new low in British cinema, and I must confess that the masochist in me enjoyed every regrettable, mindboggling minute of it.
(Chris Tookey, Sunday Telegraph)
An unspeakable and amateurish affair which if nothing else shows what desperate straits the British film industry is in these days. Clueless... There is absolutely no level - not even in the realms of self-parody - on which the film works.
(Steve Grant, Time Out)
The worst British film for decades. A truly dreadful amateurish shambles.
(Alexander Walker, Evening Standard)
Enjoyable only under the influence of a six-pack and a stiff vindaloo.
(Sheila Johnston, Independent)
I suppose the team's next project will star Charlie Drake in a remake of Die Hard set in a bungalow in Clacton.
(Sean French, Observer)
Suggests that the British film industry is bent on ritual suicide.
(Leslie Halliwell, Halliwell’s Film Guide)
Candidate for the funniest bad film ever. Lovers of all-time turkeys should seek it out.
(Simon Rose)
Double X is unmissably awful, a turkey to savour, the kind of movie which really should be imprisoned rather than released. Even recent abominations such as Tank Malling and Bullseye! had flashes of near-competence. Double X stands head-and-shoulders below all competitors for its kamikaze casting, deplorable direction, preposterous plot, abysmal acting, catatonic cinematography and pathetic production values. I shudder at the thought of what the out-takes must have been like, if indeed there were any out-takes. As the film's executive producer Noel Cronin says, "If you make a film of high quality with a low budget, it will make money". Daringly, however, he has avoided doing anything so obvious: instead, he has made a film of such baroque incompetence that it will make money by attracting the kind of audience which slows down to watch traffic accidents.
(Chris Tookey, Daily Mail)
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