Tyrannosaur

This film is an exceptional, very challenging and thought-provoking piece of work. Viewing it, as I did, at a morning showing on opening day, however, is not to be recommended. Having said that, I am not sure when the optimum time for seeing this film would actually be.

There is a lot of very uncomfortable viewing here. The subject matter - such as it is - is very bleak, but, paradoxically, more life-affirming than depressing. That is to say, I looked at the majority of the characters on screen and thought: please don't let me end up like that.

The plot is thin - that is not meant pejoratively, it's not a plot-driven film - but the performances of the cast simply roar off the screen. Peter Mullan and Eddie Marsan are fantastic, but then again, they always are (as an aside, does Marsan not tire of playing scumbags?), but the real revelation in this film is the performance of Olivia Colman.

She is perfect in this, absolutely note-perfect; incredible acting. Awesome in her delivery. So good, in fact, that you forget this is just a movie. Her performance here is definitely going to propel her into the upper echelons of British acting - if she is not already there.

Tyrannosaur is not faultless, there are some scenes that linger too long and others that linger not long enough, but for an early effort from Considine this promises much for the future. This is Considine's 'Taxi Driver' and I will queue around the block for Considine's 'Goodfellas'.

Superb writing and gritty direction; performances better yet and Colman delivers on every level. Bravo Ms Colman, and bravo to everyone else associated with the best British film of the decade.

See it.

Seeing "Tyrannosaur" is an experiment of life: the reality described is not so different from the everyday life of many of us.

Mr. Considine is able to realise, thanks to a perfect script and superb actors, a small masterpiece and a perfect debut.

The story set in a Leeds of charity shops and pubs, tells the anger, frustration, domestic violence, so common in this early-century England.

Over time we learn that the request for aid between the main characters becomes mutual, up to a finale as unexpected as disturbing.

Well done to everyone, but honour to Peter Mullan about holding the entire film with a surprising force and fragility.

Highly recommended.

Peter Mullan is Joseph, a man battling his inner demons, and Olivia Colman is Hannah, a woman he meets by chance in this character driven drama from Britain. Mullan and Colman are magnificent, especially when on screen together.

Joseph is a rage filled alcoholic who is mad at the world and living alone after the death of his wife years earlier. He meets Hannah, a woman running a consignment shop; she prays for him even though he doesn't believe in God. Her husband is an abusive controlling monster. This is not a happily after story and it feels very realistic, portraying everyday working class people struggling with loneliness, regret and doubt. Mullan and Colman radiate genuine human emotion, never looking like Hollywood,s usual pretty faces. This is worthwhile just for the two leads who are riveting.

Just be aware that this film will not leave you feeling good about life in general.

Recently Hollywood and the various film industries across the globe have seen an upsurge in the amount of on-screen performers who are taking a break from acting in front of the camera to instead take control from behind it. Paddy Considine, the star of 'This is England' and 'Dead Man's Shoes,' is now a member of this increasingly growing club with his first feature-film debut 'Tyrannosaur'. Written and Directed by Considine, this is an uncompromising debut film from the former photographer, which examines the destructive effects of violence and aggressive behaviour on the lives of two different individuals who are drawn together through their developing friendship.

Joseph (Peter Mullan) is a lonely, cynical, and belligerent working class man. He spends his days drinking alone in the Pub and gambling in the local bookmakers where his only friends reside. Violent and abusive outbursts govern his existence thereby creating a solitary creature who acts on instinct rather than reasoning. However, Joseph's life changes when he meets and befriends Hannah (Olivia Colman), a local Christian woman who is constantly being verbally and physically abused by her sadistic husband James (Eddie Marsan). Both tortured souls, they find solace in each other's lives and develop a friendship which transcends their misgivings.

'Tyrannosaur' is an uncompromising, and at times, difficult film to watch as the characters' lives are laid bare for the whole audience to observe. Joseph responds to problematic situations through the use of his fists, while Hannah simply acts out of fear and denial. Both Peter Mullan and Olivia Colman give fantastic performances; Mullan is initially a brutish, vagrant looking male who can't naturally become entwined in society, but as the film develops, empathy begins to grow for a man who accepts his short-comings and the fact that he may never be able to overcome them. With humanity arising slowly from his dishevelled face through his relationship with the young, neighbourhood boy Sam (Samuel Bottomley).

While Colman's striking performance, which is far-cry away from her role on the hit British comedy series 'Peep Show,' shows a woman who is conflicted in all manner of her beliefs. Her religious beliefs give her the naivety to believe that her husband can change, while her heart knows that he will only stop hurting her when her beatings become fatal. This is most notable in the scene where James breaks down in tears at her feet after striking out at Hannah, as she cradles his head he constantly professes his love for her repeating the phrase "it won't happen again, you know it won't happen again." Hannah constantly reaffirms his worries saying that she does love him, but as she lowers his head, the camera observes her changing emotions as the audience is shown that Hannah is clearly not a woman in love with James, but instead she is simply afraid of him.

Considine's first directorial effort is certainly a competent effort, he never attempts to direct the audience's attention too far from the script or the two central performances at hand, but this itself is the film's primary flaw. While it is captivating and emotionally unsettling, it is also a narrative which is not uncommon in modern British cinema (or known to some as 'miserable British cinema'), and it portrays the same judgements and ideals as many of its predecessors did before without providing anything new to the sub-genre at hand, especially in the culmination of the sub-plot involving the young boy Sam and his neglectful mother and boyfriend.

Despite its unoriginality in the narrative's conclusive mediation, the film still manages to evoke a strong emotional response from the viewer through its combination of horrifying visuals and fragile performances from the two lead British actors, as Paddy Considine begins his feature film journey with a solid and respectable character portrait of two broken individuals.

Paddy Considine's directorial debut has been a widely anticipated event. With his excellent performances throughout his British cinematic career, most notably his work with Shane Meadows, a dark, churning piece of cinema was what we have been expecting.

We have not been let down. Tyrannosaur is as gritty as it is gripping. The setting in a Northern industrial, working class community – the estates of Leeds, creates the imprisoned physical environment for Joseph (Peter Mullen) an alcoholic, self-loathing widower who meets a Christian charity worker (Olivia Coleman) and we are drawn into their troublesome worlds.

The films workings of violence and desperation draws another influence to my mind, which is Gary Oldman's directorial debut 'Nil by Mouth'. Both are lavished in gritty, deglamorised violence. Both have a tendency to stare the darkness in the eye, unlike some audience members (including myself) that will have an undeniable urge to look away. It's a representation of life on the underside, where it often is difficult, dark, testing and sometimes evil in its twists of fate.

The film has a strong link to animalistic representations, an element to which instantly brought Andrea Arnolds award winning short film 'Dog' to mind. The idea of trapped animals and the capabilities of those pushed too far is a powerful and dominating theme.

Needless to say the challenging viewing nature of this film forms the base of its appeal. Its unflinching and unapologetic brutality could be deemed too prosaic for the majority of mainstream cinema goers. You will need to be ready for the challenge to fully take in and be moved by the film, it's not one to watch on a Sunday morning, put it that way.

The direction and acting are the notables in this production. Most notably Olivia Coleman, whose supporting role threatens to overshadow that of Mullen's, if it wasn't for his own exceptional performance. Mullen portrays Joseph in such a way that despite his loathsome qualities he remains human and even relatable, at times when other characters don't.

But it is Coleman's character and performance that really underpins and illuminates the rest of the feature. Her character is an almost polarised opposite in comparison with Joseph however as the plot turns we are exposed to an array of character transformations. It is these that actually help support the minimalistic plot which allows us to focus and be consumed by these iridescent performances.

Considine has excelled himself in his writing and direction, with very few criticisms that could be levelled at each, other than those looking to nit-pick. Whilst somewhat preoccupied with the grim and depressive side of the characters, the film triumphs as it chase's the ray of light at the end of the tunnel. For all its depressing and challenging nature it mirrors the lives it portrays and the personal struggles of the characters, as they keep pushing and fighting. An excellent first feature from Considine and I personally cannot wait for his next offering.