Still

Still wants to be a dark and painful drama at it's core, of which there is no shortage in contemporary cinema. It tells the story of a father broken in spirit after the accidental death of his only son, who we only know through memory and photographs throughout the film. They seemed very close, his previous marriage has ended by the time we are introduced to him, and he turns to drink and drugs to dull the emotional pain.

There is no shortage of that angle in recent cinema but the truth is many films have done it much better than this. There is a real depth of character that Aidan Gillen brings to the screen. He's a talented actor, and of course deserving to be the center of this film, but I don't think anyone could save this movie from it's lack of real storytelling. It's a very serious topic, however the direction is very A to B to C and misses some of the most important subjects it brings to the screen. This includes gang violence in North London of which, these children portraying a violent gang seem nothing more than... well children. However, any sense of danger is missing from every scene they are in. The mother, portrayed by Amanda Mealing, tries to maintain a somewhat cordial relationship with her ex-husband, but her grief and struggle are so incidental that she may as well not have been in the film at all.

The worst crime in this film however was the lack of any real depth in what should have focused on the most heinous act in the entire movie. In it, a sexual assault occurs of such violation, that it simply dwarfs anything else that happens throughout the film. An event that drives the father to the breaking point, was used as a simple plot device designed to change directions of the main character, but should have been the main focal point of the film. The director decided to go another direction and make that terrible crime so superfluous, that it barely has any screen time at all and the viewer is not invited to see what happened to the victim by the end of the film.

An unforgivable act, but more so, unforgivable direction. You may think the plot was dark and gritty, but I think it barely touched on these themes.

5/10

Let's be honest, half of audiences are probably here to see Aiden Gillen (Petyr Baelish) without his trademark medieval backstabbing. It's safe to say that he doesn't disappoint, almost the entire movie is exclusively about his character's spiraling life and his capable performance makes for a realistically brooding lead. Unfortunately, the film has agonizingly slow pace and it would be about one hour into the runtime before the thriller aspect actually plays out grippingly.

Carver (Aiden Gillen) is a father who recently lost his son. He becomes desensitizes with his surrounding, he is less invested on his job and his promiscuous side starts to show. It is about this time that he has an encounter with a gang of juvenile thugs. From trivial things, the confrontation escalates into much more harsher scuffles. The movie is a throughout reflection of the man's hidden angst and rage.

Details about his personal life, simple resentment of the more apparent tendency to drink, are appreciated. However, the excessive exposure also creates plodding in the plot, most of the subplots are too lengthy and not all of them pay off in significant way. His relationships with his best friend, ex-wife or new girls are overlapping. At times, it builds the character nicely but others the scenes might be tedious with the same rehearses theme and dialogues.

There is increasing tension later at the end. Aiden Gillen delivers a good acting as the deep occasionally sad character. This movie is more of a psychological display, it's a drama at heart, not typical crime investigation. While it has its merits, the narrative feels bland. It tries to build up into an impactful message or commentary about degeneration, but it does feel contrived as it uses unsubtle method.

Still has good acting from its lead to portray psychological deterioration, although the journey there is exhausting as the approach can be heavy-handed at times.

Simon Blake makes an impressive debut as the writer and director of this edgy, gritty film that is not afraid to take more chances than most. The film is very dark, very slow, and explores the tragedies that happen on the streets daily and yet in Simon's hands it is mesmerizing, largely due to the cast's credible performances.

Set in North London, 'Still' is a gritty and atmospheric thriller about the violent disintegration of a man and father. Tom Carver (Aidan Gillen) is a man stumbling blindly towards a crossroad in his life, thrown out of focus by the death of his teenage son Stephen in a hit and run accident a year earlier. His ex-wife Rachel (Amanda Mealing) moves on, a new girlfriend Christina (Elodie Yung) moves into his squalid apartment, but Tom's life as a photographer is reduced to taking school portraits and drinking excessively and using drugs with his smarmy journalist buddy Ed (Jonathan Slinger). He becomes involved in a feud with a teenage gang after a seemingly harmless collision with a young kid. As the feud becomes more horrifying, Carver's world starts to unravel forcing him to make decisions that will change his life forever. His confrontation with one of the neighborhood gang, Carl (Sonny Green), reveals secrets about his life he has not faced and drives him to perform and act he would have never considered before his son's death. The ending is a stunningly stark and long moment of truth.

Aidan Gillen is particularly fine in evolving his rather bland character into a man driven to acts by re-molded anger. The supporting cast is excellent – especially the vivid confrontation between Gillen and Sonny Green. It is a long and sad song but it has its merits.

What makes British films British? I'm not articulate enough to write it down. I think I know what it's not, sub- Hollywood without the money and the glamour. But, I know it when I see and hear it. 'Still' is good British Filmmaking. It deals in tropes that could be in any film from anywhere, personified especially in Aidan Gillen's central character. But, there's enough charisma and wounded male pride for one to believe that women would find him attractive and that there's enough to pull you through the story to a unexpected and quietly devastating end. I'm glad I watched it. I'm intrigued to see what the director/ writer does next.

Sobering tale of inner city anarchy set amidst the mean streets of modern day London. Tom is the Everyman faced with horrific choices and propelled forward by a family tragedy. Superb lighting and crisp dialogue illuminate this modern day fable of a good man reaching and becoming aware of his limitations. The dystopian depiction of London is an effective narrative device, the acting solid and capable and a mood of menace is maintained throughout. The director Simon Blake shows himself to be a capable auteur and it will be interesting to see how his muse evolves.