Despite being lauded and applauded by critics throughout the land, starring at events such as Glastonbury 2002 and the Anarchy Film Festival, and having a soundtrack album by Luke Haines that is now a big dance hit in its own right, Paul Tickell's brilliantly black and British comedy has taken three years to find a distribution deal. It's based on a short novel from 1973 by BS Johnson, who committed suicide shortly after, but Simon Bent's screenplay expands the original into a freewheeling narrative that lurches back to the Italian Renaissance for further cinematic lustre and intellectual backup. Lock Stock's Nick Moran is the humdrum junior accountant Christie, who nurses a dying mym, but dreams of sex and money: he fuels his drift from disaffected yobbo to genocidal urban guerrilla with the belief that double-entry book-keeping is the key to life. Hence the film's narrative of the fortunes of double-entry's inventor, Fra Luca Bartolomeo Pacioli, watching Leonardo da Vinci compromise his principles in French-threatened Milan. Superb on every level: a cross between Billy Liar, Caravaggio, Fight Club and The Young Poisoner's Handbook, with a lot of Ealing thrown in. If you don't like this, stop going to the cinema.