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.

REVIEW: Neds (2011)

  Peter Mullan has long been one of Britain’s best actors following his fantastic performance as a recovering alcoholic in Loach’s My Name Is Joe. His third feature as a director gives evidence of a man equally powerful behind the camera as in front of it. His film is Neds, which stands for Non-Educated Delinquents, a blend of social realism and Greek tragedy that is harrowing, but absolutely brilliant.

  First-timer Conor McCarron is fantastic as John McGill, a clever kid who looks set to rise above his working-class roots as he moves into secondary school. However, his older brother Barry has already made his mark there, having been expelled for assaulting two teachers. John encounters prejudice from the headmaster and ridicule from his teachers. Disillusioned, John finds that he can get by playing up to the reputation of his brother; head of local youth gang, the Young Car-Ds. John ends up instead in a downward spiral and with no idea as to the best way to act.

  In John McGill, Mullan and McCarron have constructed a character that could initially be anyone of us. He is just trying to get by, doing what is expected of him. At first, it is academic or it is making good friends or striving to achieve a kind of social mobility, escaping his working class background. Disappointment and ridicule are the result, sometimes his fault and sometimes not. At home and at school, it is instilled in him that violence is power. His acceptance into a youth gang and his subsequent battles against rivalry and authority are shockingly inevitable and things are followed to their logical and extreme conclusion. After one particularly brutal clash, John stands, bloodied knife in hand, with a glazed look in his eyes, seemingly awaiting the praise of the others, which is not forthcoming. Seeking acceptance, John goes further than any of his peers had planned to go and suddenly everything is at risk.

  The film is a tough watch, but as a social critique and as a drama it is stunningly moving. Peter Mullan can use the simplest techniques to achieve a form of visceral horror, whether it is in the lighting, the score or the faces of his actors. There is not a lot of blood in the film (there is certainly a lot more in other films), but there are moments of sheer horror. Not content with making just another piece of kitchen sink realism, however, Mullan allows his film to take flights of fancy, indicating an evocative and haunting style all his own.

  The film was given a ‘18’ rating by the BBFC, something that is rather frustrating as the film is primarily aimed at people who are John’s age, around 15. This problem also beset the equally important This is England and is troubling as the youths who may benefit from the film’s message are too young to see it. Neds is a film that warns about gang culture, but it is not so self-important to think that it can solve the problem. Its main objective is to warn its young audience of how far they can sink. As drama, this film is powerful, but it is as a moral and social tragedy that the film packs its real punch.