The worlds of music and film have often entwined. So much so that it's unusual that more artists haven't directed features. Although more often than not, it's usually often thought that they best not, particularly if you're Madonna.

Ben Drew, who has seen remarkable success in his hip hop guise of Plan B, has clearly got the film bug. His performance in this year's The Sweeney remake proved without doubt that he can't act for the proverbial chewy sweet.

Whoever decided to let him loose directing a film that he also wrote was either a chancer or an idiot, or more realistically a combination of the two. Luckily for them, they got away with it – just.

East London may well have done a swell job putting on the Olympics, but in and around its surrounding areas, there are very deep and dark cracks in its pavements. After doing a hefty stint in prison, drug dealer Kirby (Keith Coggins) hasn't exactly been released a reformed character. He wastes no time in trying to take back his turf, as well as wanting to take revenge on those that have disrespected him. Needless to say, his vengeful attitude more than ruffles a few feathers.

Then there's Jake (Ryan De La Cruz); a young teenager who's just hanging out with a gang crowd, hoping to pick up a bit of weed for him and his mate. Before he realises it though, he gets sucked deep into the gang culture with vicious consequences.

Also in the area are Aaron (Riz Ahmed) and Ed (Ed Skrein). Aaron's happy enough just pushing some drugs here and there, but Ed is more of a liability. He proves this when coming out of the cells for a night, when he wants to be reunited with his phone. Although Aaron doesn't have it, he knows who does. But getting it back has far-reaching consequences for more than just the pair of them.

I told you what would happen if I caught you with your arse hanging out again, didn't I?

Initially the film appears to be somewhat of a disjointed mess. But the longer it continues, the more Drew manages to overlap and interweave his numerous storylines with a fair amount of skill. Much of this is down to the editing which works hard to connect plots and characters; still, with an incredible four editors involved, it's no surprise that something fairly coherent should be cobbled together.

The themes displayed are certainly not new; it does feel in parts like an extended drama that you would find right at home on Channel 4, offering a gritty insight into those that get sucked into the world of the inner city scum. Drew manages to make it his own though, by using his trump card – music.

In certain parts of the film, Drew relies on the lyrics of his songs (which he raps, naturally) to narrate certain stories. It's a plot narrative short cut that works remarkably well. The slight down side is that the film bits around the music sections do resemble extended dramatic scenes tagged onto almost self-contained music videos.

As far as the film's urban landscape is concerned, it may now be one that is highly familiar to audiences, but at least it's presented with an honest gravitas and isn't reliant on too many woeful clichés. So in that sense, it could be said that Drew does a fine job of keeping it real. He should certainly be commended for impressing with a likeable and believable script.

Drew may well be speaking to a particular generation with his debut film, but it certainly doesn't go out of its way to isolate anyone else from listening in.

Ill Manors does a pretty good job of standing on its own, Addidas-covered feet. There are some fine performances from professionals and amateurs alike that not only do themselves proud, but also the film itself.

And if Drew gets the opportunity to either act or direct again, we can only hope and pray that he chooses the latter, as this film proves he may well have a raw talent for it.