Jonny takes the lifestyle, and its money-making possibilities, rather more seriously than his mentors. This ongoing spectacle of criminals crooning feels like it takes up half the film. Characters bumble around with their various, homely problems, including Burdis' sexual dysfunction and Ray's jealousy over his girlfriend Sadie's role on a popular TV soap opera. As the level of violence increases, so does the degree of contrast between this rough stuff and the whimsical preparations for Ray and Sadie's wedding. No opportunity for eccentricity has been passed up in the making of this film.
Scenes have a skittish rhythm, each short unit of action ending with a quick fade to black.
Jonny delivers much of his narration to the camera, dressed in a clown costume. The music selection veers from Edvard Grieg to Noel Gallagher, via karaoke versions of Elvis and Jimmy Cliff. Like the current release Black and White, Love Honour and Obey is based largely upon group improvisations oriented around pre-set narrative moves and comic punchlines. This turns out to be the most attractive and successful part of the Anciano-Burdis trademark style. Swirls of mutual incomprehension, misunderstanding and evasion in the improvised dialogues provide some infectious, well-timed moments of mirth.