Posted in: by Robert Horton, Contributors, Film Reviews

Review: T2 Trainspotting

Danny Boyle loves his bag of tricks: the split-second cuts and the techno-pop and the crazy, strobing light show. Like a director of TV commercials who has only 30 seconds to sell a story, Boyle hypes everything. Take the gimmicky Who Wants to Be a Millionaire structure of Slumdog Millionaire, or Leonardo DiCaprio night-swimming through phosphorescent plankton in The Beach. Or, most notable, take Trainspotting, Boyle’s 1996 breakthrough. In bringing to life the junkies and reprobates of Irvine Welsh’s novel, Boyle devised a carnival of jokes and pop anthems and sudden sadism. It might have been a wee bit soulless, but it hit a nerve—or certainly a vein.

Boyle’s career has been predictably restless since then, jumping from sci-fi (Sunshine) to Bollywood lite (Slumdog) to overbearing kiddie cuteness (Millions). Oddly enough, or maybe not, his opening ceremony for the 2012 London Olympic Games was possibly his most impressive achievement, a dazzling exercise in cramming all of British popular culture in a giant blender and spewing it back at an overstimulated yet grateful audience. Given his wide-ranging curiosity, it’s a little surprising that Boyle embraced a sequel. But here’s the hopelessly titled T2 Trainspotting, and a chance to see what’s happened to characters who held little promise of evolving much from the first film.

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Posted in: by Robert Horton, Contributors, Film Reviews

Film Review: ‘Filth’

James McAvoy and Imogen Poots

Remember the great cocaine breakdown sequence from GoodFellas, in which the central character endures one long day of panic attacks and paranoia? Ray Liotta’s gangster collapses in his own excess, and looks appalling during the spiral: red-eyed, sweaty, his skin a whiter shade of pale.

Absent the bravura check-out-my-tour-de-force style of Martin Scorsese, that sequence is recalled during the entirety of Filth. In this bad-behavior wallow, James McAvoy looks as bad as Liotta during his crash, and the movie itself aims for unrelenting misery. Which it largely achieves.

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