Gerard Johnson's grimy, very low-budget reality piece is often lazily referred to as the British Henry: Portrait of a Serial Killer in some circles. There are comparable points of note between the two should you want to make them. Should you do so, Tony will stand as the lesser of the films. That's not taking away the stark, uncomfortable, raw power it possesses or the horribly realistic tone that benefits from its £100,000 budget. Where the film truly excels, though, is in presenting the London and Londoners that southerners really recognise. This is not your dressed up, over-lit, spray-cleaned London of Richard Curtis' Love Actually. This is the London that really exists and Tony is all too realistically a guy you could quite easily bump into walking its streets.