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But even though they discussed life in London, depicted London tropes in their music videos, embraced Caribbean and other multicultural influences, and most significantly used their own voices to tell their stories, UK hip hop never really received the same mainstream or critical recognition that US rap did.

The filmmakers (erm, Butler) might try to argue that Banning is just a fantasy figure for these troubled times we live in; but it’s exactly the latter part of that idea that gives us the shivers.

No longer is it considered sad or weird to say you first met your partner digitally, a shift to the mainstream largely down to the success of one app: Tinder.

Launched back in 2012, it burned into the spotlight and never swiped back, becoming a fixture on Home screens all over the world.

He is extremely dislikeable even before he starts casually torturing unarmed men by stabbing them anywhere and everywhere in a psychopathic frenzy.

The film doesn’t acknowledge the fact that Banning is a mad dog; he’s not presented as a necessary evil who exists for the West’s protection.