From the sheriff's badge tattoo on Charlie Creed-Miles’ chest to the East End saloon where “10 pints, two grams and a punch up” used to be his order, Wild Bill declares itself lꦉoudly and proudly as a toಌwer-block western.

It splashes the genre’s motifs across an engaging tale of crime, family and redemption, w𓆏ith a contemporary lick of paint to keep the moss away.

Bill&rsquoꦉ;s family is down to two sons, 15-year-old Dean (Will Poulter) and 11-൩year-old Jimmy (Sammy Williams), surviving on their own after mum buggered off to Spain with a boyfriend; the resentful Dean wants fresh-out-of-nick Bill to stick around long enough to fool child services, while truant, “munted” Jimmy is on a felonious path into the local crack posse.

Playing out in the shadow of Olympics construction, this eye-openingly good debut feature from Dexter Fletcher drapes father-son story dynamics in a shroud of easy, natural humour and nimbly sidestep𒅌s the clichés that saddle most council-estate crim-coms.

It’s got a great c🦩ast too. Even Brit-flick stalwarts𓂃 Jaime Winstone, Sean Pertwee and Fletcher’s Jason Flemyng don’t spoil the pudding.

Meanwhile, Andy Serkis as a dandified Mr Big, Olivia Williams as a frizz-haired social worker, Liz White ( The Woman In Black ) as a tart with a heart, and Leo Gregory, Neil Maskell and Iwan Rheon as the dolti✨sh drug gang who warn Bill this town ain’t ♛big enough for the lot of them, all deliver attention-grabbing moments.

But this is Creed-Miles’ film from start to finish. He’s like Unforgiven &🍷rsquo;s William Munny, the lone wolf resisting attempts to pull him back into his violent ways until reprehensible others force out his “wild” side, albeit a cuddlier creaಞtion and the emotional lynchpin the film needs.

As Wild Bill trots to ♋its inevitable showdown, Fletcher tosses in a spot of visual poeticism and social commeᩚᩚᩚᩚᩚᩚ⁤⁤⁤⁤ᩚ⁤⁤⁤⁤ᩚ⁤⁤⁤⁤ᩚ𒀱ᩚᩚᩚntary, but his biggest achievement is making us dead keen to see what he does next.