Repugnante

There is no other way that I could describe this film. It is filled with some of the most crazy and strange scenes that I have seen in film. There was weird sex, masturbating, murder, drugs. Pretty much everything offensive that you could think of is in this film.

It made me laugh, cringe and frown at some of the ridiculous stuff that happened in it.

Deep in the storyline though, was an utterly captivating, yet tragic story of a man loosing his mind to drugs, mental illness and grief. In many ways it was this that made the film all the more shocking, but brilliant at the same time.

I came out of the theatre speechless, I had no idea what to make of it or think. Now I have thought about it, I can see how good it really was.

James McAvoy gave a perfect performance in the lead role. Everything about the character that he portrayed was realistic, and I could feel the emotion coming out of him throughout his descent into madness.

This film is not for the faint of heart or easily disturbed, but if you can deal with the weird and wacky, then you are going to love it.

Inside the mind of a sex & drug addict policeman. His addictions are so deeply rooted in his personhood that they have entirely taken over his life and are the driving force in everything he does or does not do. Addiction means there's never enough and in his case drugs or sex.

This could have easily been a docudrama, instead it is a crime/comedy with a bit of drama. McAvoy is simply superb as the central mad hero and we undergo with a him a binging trip in corruption and debauchery where everyone in his life become objects he comes to use for his own gratification.

Despite the comic element being the one that has the most gravity, we get to see the torment that haunts addicted people and he too is a tormented man and his actions are a smokescreen of his anguish with his refusal to get hep only adding to his misery.

Quirky, fast paced and fun this is one heck of a mind trip.

Probably my favourite film of 2013 so far. Gripping all the way through, with all the aspects you need from a feature length film. Yes, it has the obvious overtone of 'filth', but it's not at all in its nature... it's humorous and very touching at times. I think the casting is brilliant and I have a new found respect for James McAvoy, who in previous films I have found to be almost nondescript. He shines here, brighter than most Oscar winning performers I've seen. Ray Donovan's Eddie Marson is also fantastic in his role, so well cast - he's funny and warm in such a subtle way. This is not one of those situations when someone can rightly say 'the book is better' - I think the job has been done so well of adapting it into film format that the book is not better at all, just a different experience. It is honestly a film I want to see again. I think an instant classic, not filthy at all, but pure class.

Remember when Ewan McGregor played in a little movie called Trainspotting? The film was made after a book by Scottish writer Irvine Welsh and it was an intense and often funny window into the complete wasting of human life due to heroin. It made McGregor famous.

Now, James McAvoy has no need to be made famous, he already is, and he showed he is a great actor in several movies; he is on a roll. But in this film, also made from an Irvine Welsh book, he really outdid himself, playing a deranged police inspector torn apart by addiction, grief and madness.

The film itself is difficult to explain and, perhaps, it would be more clear to me if I would have read the book first. Some of the characters I have no idea who they were and why he was interacting with them in the first place. Also the ending is pretty much the antithesis of the one in Trainspotting. Here, there is no hope.

The direction was good, I guess, as well as the general production values. A bunch of known, but usually secondary actors fill the cast, with often interesting results, but let's face it, the film is mostly a one man show and McAvoy was up for the job. I just wish the story would have been less confusing.

Conclusion: it would be a shame not to watch this film, even if you end up not liking it for some reason. You need to be familiar with Scottish accents or use a subtitle to get what people are saying. Other than that, great work, James!

This is another film adaptation of an Irvine Welsh novel that was referred to as "unfilmable", although when reading the book when it first came out I for one was struck by the tightness of the narrative and the cinema-friendly focus on a single protagonist.

The antihero in question is Bruce Robertson (James McAvoy), a dodgy copper trying to make the most of a promotion opportunity by ruining his rivals through a series of cruel intricate schemes. Meanwhile, his mind is deteriorating, and he's haunted by flashbacks, waking dreams, and humanoid livestock. The film is fairly faithful to the source, and the changes (including some understandably blunted edges) are down to the different artform.

Irvine Welsh has said that McAvoy's performance is better than De Niro's in Taxi Driver. I don't think this is a suitable comparison. Scorsese's seminal feature was about a post-traumatic depression, whereas Jon S. Baird's film is more manic. For me, the film Filth most resembles is A Clockwork Orange. Like Kubrick's masterpiece, the entire aesthetic is informed by the subjectivity of the central character. And there are subtler nods: the use of classical music, the bleached windows, Jim Broadbent's reinvention of the Deltoid character (a probation officer then, a psychiatrist now), and the visual reference to 2001: A Space Odyssey.

Before the film's release, I wasn't convinced by the casting of McAvoy, but after watching it I can safely say he's transformative – to capture such bipolar savagery and the fear in a single facial expression is the sign of a special performance. The supporting cast provides a colourful blend of caricatures. Jamie Bell, Eddie Marsan and Imogen Poots all make an impact in the few moments when McAvoy isn't dominating the screen.

For me, the dud notes concern the tone of the film. Sometimes Baird's shifts between the schizoid black comedy of Robertson's outbursts and his introspective guilt about his past are so sudden and sentimental that their capacity to convince is lost in the (lack of) transition. Part of this is down to Clint Mansell's disappointingly soft score, whose tinkly piano and lifeless strings often feel incongruous, more awkward than deliberate.

But these minor issues don't detract from a powerful, funny, and finally moving depiction of mental disintegration. To say that it's the best Welsh adaptation since Trainspotting may not be saying much – so I'll say instead that it's a very good film in its own right.