Filth

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.

If you like "Trainspotting", you'll love this one. "Filth" is also an adaptation of Irvine Welsh's novel and, although the stories do not have much in common, the movies share a specific atmosphere that will pin you to the screen. Its name fits perfectly, because the film is uncompromisingly dirty. James McAvoy plays a corrupt police detective who would stop at nothing to get his promotion. But behind the mask of a self-confident macho chauvinist, there are hidden secrets that the movie gradually unfolds, up to the totally wicked twist at the end. Although McAvoy's character is almost utterly bad guy, his rude and ruthless charm will mesmerize you and make you be on his side all the time, even when his behavior is inexcusably brutal. In addition to his undoubted acting talent, Mcavoy dedicated himself to the credibility of his performance, so he drank lots of whiskey in order to make his role of heavy alcoholic and drug addict more convincing. His transformations throughout the film, and the powerful expressions of psychological states and emotions of his character definitely deserve an Oscar. Although the film is full of insane moments, surreal scenes and filthy humor, "Filth" is primarily a powerful and shocking drama about a man who is falling apart inside, but whose life thought him that he must not show it. The film brings this phenomenon to surreal extremes, but essentially it is something with which many of us can identify, and I think that's precisely what makes McAvoy's character rather antihero than a villain, and what makes us sympathize with him.

8/10

I would just like to mention the remarkable performance of Jim Broadbent, whose surrealistic scenes make this film even more bizarre, and if you pay attention, you may notice tributes to Stanley Kubrick's cult films "A Clockwork Orange" and "Odyssey".

I left the cinema speechless; i normally try to critique and discuss the film straight after, but i was speechless. It was the craziest film i have seen in a long time. It takes boundaries and tells them to f*** off. There are no restrictions with this film. There is brutality, sexism, racism, oppression, homophobia. It is polluted with prejudice. But i thought it was a great film. Am i part of those worldly problems? No. But let's face it, this is unfortunately the way the world is and all this film is doing is showing you just how filthy this world can be.

James McAvoy is a revelation as Detective Bruce Robertson; i really didn't see all the fuss with him. Yes he was good in "The Last King of Scotland", but the rest of the films i just couldn't match the hype to the actor, then i went to see "Trance" and i was blown away by his performance. And if it weren't for seeing that i probably wouldn't have been half as eager to see this. Because he showed the ability to portray more than one character in a film; someone who is both fragile and unstable. With "Filth" he excels beyond that and gives his best showing of his young career. He conveys every emotion, from bitterness, to regret, to sadness, to rage, to insanity and he conveys them extremely convincingly. It is a masterclass of acting.

Some may be easily offended, and if you are usually like that, i would avoid seeing the film. But if you want to face the World and its obvious problems head on (in the form of a film) then it is an outstanding film to do so.

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.

Funny and dramatic at the same time. The main character of the film causes double feelings. On the one hand, he is disgusting and pathetic, but on the other hand, he is lonely and seriously ill. Guilt eats away from the inside of the protagonist. This can be seen from the last phrase: "The rules are the same everywhere." Everyone pays for their actions...