| Photos (see all 15 | slideshow) | Videos |
| Paddy Considine | ... | Richard | |
| Gary Stretch | ... | Sonny | |
| Toby Kebbell | ... | Anthony | |
| Jo Hartley | ... | Jo | |
| Seamus O'Neill | ... | Big Al | |
| Stuart Wolfenden | ... | Herbie | |
| Paul Sadot | ... | Tuff | |
| Paul Hurstfield | ... | Mark | |
| Emily Aston | ... | Patti | |
| George Newton | ... | Gypsy John | |
| Neil Bell | ... | Soz | |
| Craig Considine | ... | Craig | |
| Matt Considine | ... | Matt | |
| Andrew Shim | ... | Elvis | |
| Arthur Meadows | ... | Mourner | |
| Gill Meadows | ... | Mourner | |
| Neil Dodd | ... | Mourner | |
| Ben Dodd | ... | Mourner | |
| Jordan Dodd | ... | Mourner | |
| Lauren Dodd | ... | Mourner | |
| Jenna Winter | ... | Mourner |
Directed by | |||
| Shane Meadows | |||
Writing credits | ||
| Paddy Considine | (written by) & | |
| Shane Meadows | (written by) | |
| Paul Fraser | (additional material) | |
Original Music by | |||
| Aphex Twin | |||
Cinematography by | |||
| Danny Cohen | (director of photography) | ||
Film Editing by | |||
| Celia Haining | |||
| Lucas Roche | |||
| Chris Wyatt | |||
Casting by | |||
| Carol Crane | |||
Art Direction by | |||
| Adam Tomlinson | |||
Makeup Department | |||
| Tristan Versluis | .... | special makeup effects artist | |
Production Management | |||
| Rebecca Mark-Lawson | .... | executive in charge of production | |
| Kate Ogborn | .... | executive in charge of production | |
Second Unit Director or Assistant Director | |||
| Lisa Butler | .... | second assistant director | |
| Griffin | .... | first assistant director | |
| Steve Watson | .... | third assistant director | |
Art Department | |||
| Rosie Jones | .... | assistant art director | |
| Gavin Lewis | .... | art director: second unit | |
| Anjan Sarkar | .... | storyboard artist | |
Sound Department | |||
| James Feltham | .... | sound re-recording mixer | |
| Mark Hackett | .... | foley mixer | |
| Matt Hall | .... | dialogue editor | |
| Stevie Haywood | .... | sound recordist | |
| Nigel Heath | .... | sound re-recording mixer | |
| Dave Heels | .... | sound assistant | |
| Greg Marshall | .... | sound effects editor | |
| Leyton Rooney | .... | additional sound editor | |
Visual Effects by | |||
| Tim Caplan | .... | visual effects supervisor | |
| Bronwyn Edwards | .... | 2D artist | |
| Al Ford | .... | visual effects editor | |
| Elysia Greening | .... | 2D support | |
Stunts | |||
| Rod Woodruff | .... | stunt coordinator | |
Camera and Electrical Department | |||
| Mark Clayton | .... | gaffer | |
| Andy Hill | .... | clapper loader | |
| Nathan Mann | .... | focus puller: additional photography | |
| Zac Nicholson | .... | unit director of photography | |
| Dean Rogers | .... | still photographer | |
| Lucie Seymour | .... | focus puller | |
| Matt Shaw | .... | focus puller: second unit | |
Costume and Wardrobe Department | |||
| Theresa Hughes | .... | costumes supervisor | |
Music Department | |||
| Dangermouse & Jemini | .... | music performers | |
| Paul Hillier | .... | conductor: Arvo Pärt | |
Other crew | |||
| Mary Burke | .... | production assistant | |
| David Finnigan | .... | production runner | |
| Louise Knight | .... | continuity | |
| Richard Knight | .... | location manager | |
| Keeley Naylor | .... | unit publicist | |
| Rachel Robey | .... | production co-coordinator | |
Thanks | |||
| Rob Garvie | .... | special thanks | |
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| Cidade de Deus | Sleepaway Camp | Day of the Woman | The Devil's Rejects | Kill Bill: Vol. 2 |
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On paper I can see the argument that there is little morally redemptive quality to a film like Dead Man's Shoes, no diamond polished by the end credits to reward an audience going through the trauma. But to actually sit through the film, and most importantly, to be subjected to another of Paddy Consadines' electric performances, is an extra-ordinarily vital, if viceral experience.
In 'A Room for Romeo Brass' Considines character shifted from comical to threatening in a truly unsettling way, although in the end his promise 'to go dark on you' is easily thwarted by the decisive action and confidence of a father-figure. In this film, again, there is some uncertainty on the audience's part as to how far the character will go, as until the end, we are uncertain of exactly what he is revenging.
Rest-assured, Considine delivers an absolutely convincing depiction of a man struggling to balance his desire for revenge and redemption, he invokes sympathy and fear from the audience in a performance to rival DeNiro in 'Taxi Driver'.
I judge a film on the value of the experience it gives you, and 'Dead Man's Shoes is more than worthy of your time.