Performances esplêndidas, só fiquei um pouquinho desapontado por não ter retirado mais do filme. Ainda assim, vale a pena ver, nem que seja pela forma como os personagens foram construídos (e as suas demais características) e o seu desenvolvimento ao longo do enredo. Uma "tour de force" em termos de representação... e uma lição, tanto de direcção de actores como de cinema propriamente dito.
Reminds me of the harsh realities that some people may experience in their lifetime. We have our highs and we have our lows, and in particular, this film has its lows. The direction from Considine is sublime alongside a worthy performance from the lead which Considine would be proud of himself.
I do not think there has been a film as human as this in recent years. Magnificently acted, directed to perfection with a solid script. It displays the rawness of the original short film but certainly amplifies the purity of humanity and the destruction of human relationship. Amusing that the most beautiful and mesmerizing scene, where the characters are at their finest takes place after a funeral. Ironic? Perfect
“I wanted it to soak into me and brighten me up. And I thought you were beautiful. I just wanted to look at you, that's all. Didn't want to know you. Because I knew if I got to know you, you'd have your own shite. You wouldn't be perfect, and I didn't want that feeling ruined. And boy, was I right.”
A film whose form is as erratic as the psychological state of its protagonist (and I don't think that was a conscious decision.) Ranging from moments of Lynchian villainy to trite indie crud accompanied by lame acoustic guitar music, I think it's safe to say that Tyrannosaur is inconsistent. Still, aside from its inability to maintain a motif, it's a decent portrayal of a bond formed by two troubled people in pain.
Considine has clearly has learned a lot from Shane Meadows as a director and with awesome performances from Mullan and coleman actually goes far more darker then anything Meadows has done. It rivals Gary oldman's Nil By Mouth for bleakness. but it has heart thanks to Coleman (known more for her comedy roles). Top debut.
Great movie. Peter Mullan and Olivia Colman really carry it with their outstanding performances. Many of the characters are quite unlikable and nasty and yet that is exactly what makes it work and is so powerful. Just like in real life, there are many vicious people around us, more than we'd like to admit. In this sense it reminded me of the brilliant Snowtown with its brutal and realistic portrayal of real life.
Paddy Considine makes a strong directorial debut here wearing the influences of Clarke, Loach and Meadows proudly on display. Like Oldman and Roth's debuts as directors the realism and believability of the performances on display in these kitchen sink dramas are devestating. Both Mullan and Colman offer rich potrayals. "...nobody is safe with me..."
What I found really interesting is how it’s really not a film that is driven by a plot, but it kind of lays all its faith in the actors, who by the way I thought we absolutely incredible! That’s the only flawless part of the film in my opinion, were the actors. Olivia Colman (who played Hannah) I thought was particularly amazing!
This is a humorless, nihilistic "Lifetime" movie of epic proportions, complete with rape, sadism, assault, disfigurement, and weekly dog murders. Every character is a tortured, victimized soul with no chance for redemption or joy. I didn't recognize any action or character as being the least bit human. I disagreed with almost every choice the writer/director made.
Interesting because it's about how people hide behind religious piety in order to escape and excuse the rage they feel and the violence they commit. Full of interesting touches: Joseph meets Hannah by rushing into her shop and hiding behind a confessional-like partition; the Chabrol-like transference of guilt from one character to another; and the intimation that violence is something essential to human nature.
A powerful and raw drama examining troubled, sick souls who cannot harness their abusive behaviour and therefore cannot find their much sought redemption. Olivia Colman brings a pitch perfect performance which is one of the best I have seen for a long time and together with Paddy Considine's directorial debut is definetely worth many accolades.
A brutal and unflinching directorial debut from Paddy Considine. Whilst not perfect, the film certainly packs an emotional punch and get the kitchen sink social disconnect perfectly. You can here me and a friend discuss this on our Podcast: http://lastpictureshowpodc...fun-house-1970/