By Alex Purnell. London chicken shops are a representation of your neighbourhood, acting as a community hub for minority groups in the capital. They act as a cheap alternative from other fast-food shops scattered around London and have garnered a level of respect from the locals and because of this, chicken shops such as Morley’s and Chicken Palace are considered a far better representation of London culture than Buckingham Palace or The Tower of London will ever be. 

No more Wings, the directorial debut of Abraham Adeyemi, is a short story about two young black men at a pivotal moment in their lives. The two meet at their local Morley’s chicken shop to have a catch-up, with one clad in a stylish suit and a gilded new watch, whilst the other sports a tracksuit, weed and a grinder. Quickly you can see the stark contrast between the two, as they dig into their 6 piece with chips.

The suited Isaac (Ivanno Jeremiah) lets his old friend know that he is leaving their local district of Woolwich, and has recently brought a house in East London. The other, Jude (Parys Jordan), lightheartedly argues against his friend, suggesting that he should stay for the glow up, as well as protesting that the up-market chicken shops nearby will be gentrified and overpriced.

The film cuts to the two as schoolboys, entering the same Morleys years earlier, whilst this time they are both wearing a standard school uniform. Despite this, you can instantly tell who is who, and not just by their haircuts but instead through the conversation the two engage in.

The duo chat about their district of Woolwich, and whether or not they are going to leave, echoing their future actions. A young Jude strives to be a grime star, representing Woolwich, whilst the young grounded Isaac reminds him of his GCSE’s and states that there’s much more to the world than South East London. 

The simplicity of No more Wings is both it’s most resilient and weakest point. Dialogue is the most integral component of the film and is consistently carried by natural conversation, creating a fluid, realistic narrative which is most definitely the defining feature of the flick. 

Despite this, No more Wings does leave the audience feeling empty by the end, the lack of substance does create a rather dull viewing experience. The dialogue is engaging, but the delivery leaves much to be desired, with the two older versions seeming to not want to be present.

Although maybe intentional with the inclination that the two are drifting apart, it leaves you feeling unfulfilled, as the lack of climax or any real development of character leaves you emotionless.

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