REVIEW: Tyrannosaur (2011)

  Paddy Considine, best known for his commanding performances in A Room For Romeo Brass and Dead Man’s Shoes, has made his feature debut as a writer-director. Tyrannosaur is an expansion of his award-winning short Dog Altogether, starring Peter Mullan and Olivia Colman in the same roles.

  Joseph (an always fantastic Mullan) is an angry, violent man who finds it impossible to control his temper. After one of many confrontations, he darts into Hannah’s (an unexpectedly excellent Colman) charity shop, an act that she takes as a cry for help. However, she might be the one who needs help the most, particularly from her abusive husband, James (the too little seen Eddie Marsan).

  The film begins with a rather rushed retelling of the engrossing though confused character study of Dog Altogether, before it develops the plot to suit a feature length. Hannah’s home life is expanded upon, creating the powerfully convincing portrait of a woman victimized by domestic abuse. This added element makes Tyrannosaur more of a multi-faceted look at those who are victims in all kinds of settings. Ultimately, the film is a love story about two troubled people who need help and support to make it through. The film denies its characters a simplistic representation and, as a result, it is a film without archetypes. There are no villains, heroes or helpers. Unlike the short film, there is no character present that can help who doesn’t have problems of his or her own.

  One of the most striking things about the film, apart from the riveting performances and dialogue, is the fact that it avoids easy answers. It is a film that is uncompromising and rather brave as it carries its convictions to the furthest extreme. We sympathise for Joseph despite the terrible things we see him do. Considine and Mullan present a character that should be the villain and uncover the weakness underneath the tough exterior. Like Mullan’s own admittedly superior Neds, the film has a heart despite the grim setting and bloody violence. Similarly, in Hannah is found a touching portrayal of a victimised woman, the dependence on alcohol and the brave face put on despite the fear and anguish, and the rising anger. Tyrannosaur is not an easy film to watch, but it is an important one.

  However, the film is not without its flaws. From the rushed beginning onwards, the film intermittently veers into the overabundance prevalent in a lot of debut work, becoming, at times, slightly unclear as to what the film is actually about. A monologue towards the end of the film, though effective, seems to point the film in a different direction. Slightly inconsistent though it may be, the film remains a powerful piece of work from a filmmaker who could become the equal of Shane Meadows or of Peter Mullan himself.

  Tyrannosaur is a fantastic drama anchored by three fascinating performances and a degree of sincerity that is often hard to find. At times funny though always touching, it is an emotionally draining film that isn’t afraid to be, ultimately, hopeful.