"It's ultimately a quite inane and pointless feature, making little sense and trying to be a bit too clever than it actually is..."

Here I was thinking that Michael Fassbender of Shame is flying the flag for full frontal male nudity in film this year. Oh how wrong I was, as Johnny Daukes’s Acts of Godfrey opens with a prolonged shot of lead actor Iain Robertson completely naked (aside from his shoes) standing outside in the pouring rain. Except this is no Fassbender. Not by any stretch.

Having seen perhaps a little more of Robertson - playing Victor - than we would have liked to, we then delve into the seemingly dejected and hapless man's life, as he spends a weekend in a hotel, attending a motivational course he's been sent on by his employers. Alongside a group of fellow enthusiasts, keen to learn more the inner techniques to successful grafting in the workplace, he meets a host of quite surreal figures.

We have the flirtatious sexual-predator Mary (Myfanwy Waring), sadistic widow-predator Malcolm (Harry Enfield), music producer Jamie (Michael Wildman), funeral director Gita (Shobu Kapoor), cougar Jacqui (Doon Mackichan) and finally East End gangsters Terry (Ian Burfield) and Phil (Jay Simpson). However, little do they all know, but there are quite essential links between them all and fate may just intervene.

Talking of which, fate, in this instance, comes in the form of hotel attendant Godfrey (Simon Callow), a supernatural being able to dictate other people’s lives, as he opts to play Cupid and get Victor together with Mary before the weekend is up.

The novelty of the dialogue being spoken in rhyming couplets throughout makes this film unique, although such a novelty certainly wears thin after a while. In all fairness, the rhyming verse is done well at times, often bearing relative wit, but overall it only truly seeks to damage the actual story as it feels contrived at points, with rhyming verse added in simply to retain this device, resulting in losing track of the plot. Yet, such originality is what the film survives on, and is what will allow for it to stand out amongst fellow new releases, even if the film does have its faults.

The story itself is relatively interesting, not only attempting to replicate Shakespeare's verse, but certainly taking pointers from A Midsummer Night's Dream. Godfrey is effectively playing the role of Puck, delicately (albeit haphazardly) attempting to influence fate. There are also a variety of crossed stories and lovers, even including a 'potion' that Terry and Phil are selling called Poke, to enhance sexual desire. Some of the interlacing between the characters and past connections is presented quite smartly, although why they were all attending the same event at the same time makes little sense. It seems slightly odd, yet convenient, that a music producer is at the same conference as someone who preys on widows for their savings.

Ultimately, it's all just a bit silly, although it is somewhat unclear whether Daukes is aware that this is the case. At times it is cringe-worthy, with quite unnecessary fantasy sequences. The most awkward and predictable scene coming when Jamie, the only black character in the film, performs an inspirational speech, although rapping it rather than simply speaking it. Also, try to leave as the credits roll, as the final 'post-scene' is just absurd and superfluous.

Some of the performances, however, are respectable, and all of the characters speak the rhyming verse well, feeling very natural when performed. This is most evident in Robertson, with a voice certainly eligible for advert voice-overs, which can probably be put down to his soft Glaswegian accent. It's just a shame for him, impressing throughout, for being involved in a romantic storyline that has so little depth. However, Enfield is impressive, playing a quite twisted old man with genuine tortuousness.

It's ultimately a quite inane and pointless feature, making little sense and trying to be a bit too clever than it actually is. Yet it's difficult not to admire Daukes for attempting something different and unique, and the spirit and originality shown certainly works very well in certain scenes. Yet when pursuing such a project, my advice is to just leave it to Shakespeare.