Review: Filth

Filth is an example of an alright film that is elevated to a great one due to a brilliant lead performance. The film tells the story of Bruce Robertson, the cocaine snorting, self-destructive detective sergeant who is hell-bent on getting promoted whilst dealing with his own demons in very fucked up ways. The film never condones his horrifying behaviour and yet manages to evoke some sympathy for what is truly an unlikable characters. It really is James McAvoy’s show: the scenes without him just don’t stand up to the same level and the other actors are elevated when they’re opposite him. McAvoy revels in the hilariously shocking scenes and well as dealing with the emotionally shocking ones.

However, it does end up a bit messy in the third act, then tries to redeem itself with a twist that isn’t quite executed well enough. From that point onwards, the structure seems to fall apart and its shock after shock that leaves you walking away from the film trying to work out if any of it was really necessary. Not all of the surreal scenes work either. Although funny, Jim Broadbent’s role seems superfluous as did the car sing-a-long.

That said, I really did enjoy the film. It balances the funny and the harrowing well and at only 97 minutes, it never overstays its welcome. Eddie Marsan as Bruce’s best pal Bladesey and Shirley Henderson as his wife Bunty are brilliant. Imogen Poots and Jamie Bell also hold their own as his rival colleagues. If you’re from Edinburgh, you’ll also get all the extra references that may pass over other audiences’ heads and it’s exciting to see your hometown on screen – even if it makes us look awful. It’s also a nice change to see a film made specifically for a Scottish audience instead of catering to an international market. Because of this, and also the pretty disturbing nature of the film, it may never receive American distribution which really is a shame as McAvoy deserves at least a nomination for his work.

Overall, it may not be perfect, but for wee Jamesy boy alone it’s worth it.

Beth Johnston

Review: Cloud Atlas

Cloud Atlas is the most recent film of The Wachowski’s (most famously known for The Matrix) along with Tom Twyker. Adapted from the original book ‘Cloud Atlas’ the film flips between six story lines, ranging from the tale of a voyager (Jim Sturgess) in 1849 who makes friends with a slave (David Gyasi) while being slowly poisoned by a "doctor"(Tom Hanks). To a tribe living in post-apocalyptic Hawaii in the distant future who are repeatedly attacked by a group of cannibals and haunted by the devil (Hugo Weaving). The tale of a composer (Ben Whishaw) trying to make it big, his letters to his boyfriend (James D’Arcy) and his ultimate decline in metal health. The thrilling story of a journalist (Halle Berry) who helps discover the dodgy goings on in a nuclear plant, to the troubles of a publisher (Jim Broadbent) who ends up trapped in a care home where he and his fellow OAPs plan to escape. And lastly the life of a clone, (Doona Bae)  stuck repeating daily life and serving 'pure bloods' but who ends up turning into the voice of her kind.

All these stories are delicately intertwined showing the consequences that each life has on those in the past, present and future. Throughout the stories themes of love, exploration, courage, belief, faith, barrier breaking and the need to fight for what is important and just, are explored. What is painted upon you is a greater understanding of human nature and those traits that connect each one of us throughout time and space and impact on generations further down the line.

Each story line has multiple characters that are played by the same actors, which was no doubt a daring choice by Tom Tykwer, Andy Wachowski, Lana Wachowski. One that was pulled of effectively as I think it forces the audience to make the connection between each character and the relationships they have with the same people, but in different eras much more plainly obvious. Indeed I think that if this hadn’t been done, the overall effect of the film would have been a lot less powerful and would have ended up just being the confusing tale of different lives for many of audience members.

There are appearances from the either loved or hated Hugh Grant, annoying as he is in most repetitive roles, his presence in this film seems as I see it to be one of purposeful comic intent and so for all you Hugh Grant haters don’t let it put you off going to see what is a well written (if a little long) and directed film, essentially about connections in every form, with some beautiful acting from the likes of Doona Bae, James D’Arcy and Hugo Weaving – who you get to see transformed into a scary old woman, which was for me personally priceless.

Lydia Heathcote