Tumba al ras de la tierra

Shallow Grave, the debut film from director Danny Boyle (also from his fellow producer and screenwriter from other films he made in the 90s), has a fatalistic edge to it, but where it will really go is anyone's guess. It's practically impossible to identify with these three main characters- Kerry Fox as Juliet, Christopher Eccleston as David, and Ewan McGregor as Alex- as they're all cynical and sarcastic to the bone, rarely sympathetic, and friends through and through. The latter part might be a little more recognizable in such a very easy kind of story for these characters, who after finding their new roommate dead in his room have to 'take care' of the situation. This becomes further complicated, both practically and morally, when a suitcase of money is found from the ex-roomer. This is at the core something of a simple dilemma kind of issue tale that could fit very easily onto a kid's show (minus all the death of course, as finding-money was also used in Boyle's film Millions). But Shallow Grave also happens to have the ingredients for a horror film as well as film-noir, tragedy as much as thriller, with bits of pitch-black comedy thrown in for good measure.

One of the cool, unnerving things about the film as well is how, after a while, you can't really be sure who's really sane or not. But even as it is a story of friends, it is more closer to being Eccleston's movie, as a character who goes through the darkest change out of the three of them. He starts out as the sanest of the uptight middle class three, or at least the most reasonable when the circumstances strike up. But through grisly turns of events, he becomes the most un-balanced of the bunch, and Boyle is able to get with his DP Brian Tufano some really powerful moments visually up in the attic. As further complications go on, it becomes not really a tale of morality but one of keeping a bond that is breaking always. But the psychological turns are made better, and not too circumspect or dumb, by the actors. In truth, some of what the characters decide and then go through is a bit too implausible even for a thematically violent film like this. But it's a fresh showcase for all three actors for their gifts- McGregor's Alex seems like a sociopath through most of the film, and his change doesn't make him more likable but still very intense by the acting. Eccleston has what should be one of the performances of his career as the mild-mannered and then loose-edged flat-mate. And Kerry Fox is good, if a little typical as the lady of the house. Her own role in the film is further complicated by lustful intentions and all that- she could be considered a femme fatale if it were that easy.

And Shallow Grave is, above all else, a very good film at style trumping the substance, which itself isn't that bad as being B-movie fare, to which he would put to best use with Trainspotting. Here I'm reminded of the cinematic freedom and inventiveness taken in such 'pulp' matter by first time filmmakers in the 90s, and even in the story's weakest points (and there are a few in due to logic and the dialog sometimes) it's never boring. There's a cringe/funny kind of scene with Alex and Juliet using some new merchandise for some lewd and f***ed up purposes, and it's filmed in a perfectly amateurish way. And in dealing with the more disturbing subject matter, it helps that Boyle and writer John Hodge only show what is necessary (i.e. some of the 'grave' scenes) so that it doesn't become stale or with that sort of kick needed for the material. By the end, too, as in other noir stories, there is a twist that comes, but it isn't even much expected as the characters have met their fates. But it has the advantage of not being a cop-out either. Shallow Grave is, when it comes down to it, that splendid of things- a directorial calling card that speaks to his skills with actors (more so in casting to a T), mixing comedy and drama, and hip use of camera-work. Nothing really 'deep' or great, but it's a nifty little midnight movie from merry old England. 8.5/10

A great modern thriller containing all the necessary ingredients of a decent suspense story: constantly growing tension, sly humor, and genuinely surprising plot twists. It's kind of like a 90s version of a Hitchcock flick (think "Rope"), and like somebody here wrote, once you start watching it you can't stop.

The plot is deliciously wicked. Just how far are you going to go for money? Will you kill for it? Are you willing to share it? Will you give up your best friends for it? How insane will a large amount of cash drive you? And in the end, and this is the most important question "Shallow Grave" rises, will it make you happy?

If there was any more violence in this movie it would turn disgusting, but Danny Boyle knows how to measure it just right. Though he doesn't quite reach the virtuosity of "Trainspotting" here, his trademarks are all present: the fast pace, the urban background beats, the enthralling camera angles and so forth.

The three leads are all great, but there's no question about who the movie belongs to: Ewan McGregor is energetic, powerful and photogenic in his portrayal of a young journalist. No wonder he became such a star.

Alex, David and Juliet share a flat together and are looking for a new flat mate to help fill the flat out. They see various applicants who don't fit until they meet the mysterious Hugo who is `interesting' and takes the room. Almost a week goes by and he doesn't come out of his room once, so they break down Hugo's door to find him dead with a suitcase full of money. To keep the money, they agree to destroy Hugo's body and draw straws to see who does the cutting. David ends up doing the deed but it affects him badly and he becomes increasingly erratic and paranoid. Meanwhile two criminals are dredging the underworld looking for the money.

Any film that can pose a moral question that stays with the audience is off to a good start and needs to build on it. That is the case here with the `would you keep the money' question - the answer being `yes' in terms of the characters here. The plot then sees the greed do what greed do best - feed paranoia and divisions between the characters. It's a theme that has been done before but is still well done here. The plot has weaknesses in logic and flow - David's paranoia doesn't totally go the way that seems most likely, rather the way that the film requires. Also the film doesn't build good characters. However what it does do well is turn up tension and drama very well - as the net closes and the characters start to turn on each other.

This is where the comparatively short running time helps - it keeps the whole thing from being onscreen too long to be analysed to death while you are watching it. I didn't question the weaknesses because I was caught up in the story. It has a good pace on it although it can't keep up the speed it set with it's stylish opening credits (which have been impersonated so often since). The final act is a fitting denouncement and, like I said, even if some of it doesn't totally scan the film moves along fast enough to cover it.

Despite the lack of really developed characters, the cast do really good jobs on the whole. McGregor is great - this and Trainspotting show how great it can be, just makes it harder to see him looking miserable in the Star Wars films. Fox is also very good, although she is a lot subtler than McGregor. However it is Eccleston who steals the film, even if he is required to go further than he should have in his downward spiral; contrast his character at the start and the end of the film, he did very well to gradually go from one to the other convincingly. The support cast is made up of familiar faces who don't really do that much - McCredie, Stott, Allen and Mullan.

Overall this is not without it's flaws but it works as a tight little moral thriller that is really enjoyable while watching it. And the ending will have you in the pub or on the message boards talking about it (in a good way).

I saw this film before "Trainspotting" came out, so I had no clue who this Ewan McGregor fellow was, or what sort of director Danny Boyle would turn out to be. "Shallow Grave" is a great enough film to have sealed the deal for me: I have sought out his work (and have, for the most part, loved it!) ever since.

You've already read vague bits about the plot, I'm sure, and I shan't give away any more than the basics - three roommates and best friends are inseparable until a suitcase full of money, found through some rather unpleasant circumstances (to say the least), causes not only friction and paranoia but also potential for violence, as they each struggle with their own morality over what to do. Do they call the cops and return the cash? Tell no-one what they had to do to keep it, and live the high life? It seems so simple in the beginning, boiled down to a single conversation over a kitchen table, but the complexities of that one decision soon become awfully clear. And as David (Eccleston) says at one point about a camcorder, bought as a new toy by his flatmates, "Yes, you PAID five hundred quid for it, but we don't know what the COST to US will be yet." Eerie foreshadowing, there. And that is where the fun...and fear...all begin.

What follows is a story that manages to ratchet up the tension at a furious pace. The whole film fits into just over 90 minutes, and it is very impressive to see how effectively the entire mood changes as these three roommates begin doubting each other, themselves, their neighbours, the police, and the occasional unfamiliar car parked outside their Edinburgh flat... The fun and hijinx for the trio (and for us, the audience) are brought to a screeching halt, and the rest of the film stays taut, never tipping its hand to let you know what might happen the next time someone comes to their door.

If you've seen and enjoyed Boyle's more recent works ("Millions," "28 Days Later," "Slumdog Millionaire," "127 Hours"...and especially "Trainspotting," as you'll see a LOT of familiar faces who got their start here), go back to this one to see where his true style came to be. It's no surprise at all that he's gone on to Oscar acclaim; he's clearly been building his craft and unique methods for some time. "Shallow Grave" is a fantastic noir-ish thriller, managing to be laugh-out-loud funny in places (the three leads are fabulous, particularly McGregor and Eccleston) and then turning very, very dark on you without warning.

And I must say...the ending alone is worth the ride. ;)

Juliet Miller (Kerry Fox), David Stephens (Christopher Eccleston), and Alex Law (Ewan McGregor) are three flatmates looking for someone to rent the fourth room. They are all sarcastic, sharp-tongued, and generally mean-spirited. They agree on the charismatic Hugo (Keith Allen) but don't know his criminal activities. When they discover his dead body, they also find a suitcase full of money.

Before Danny Boyle's breakthrough movie 'Trainspotting', this is his first big screen debut. The leads are not likable. They are all unlikeable selfish untrustworthy jerks. It's dark. It has three amazing performances. And it has a great Hitchcockian style. It is sharp and brilliant. It has some funny moments especially as they skewer the roommate interviews. It builds up to great tension. It's just good dark fun.