Ordure!

If you are a friend of funny, thrilling and bizarre movies, you're gonna love this one! First of all, this movie manages to surprise you again and again till the end. It switches between funny, dramatic and thrilling elements. James McAvoy gives an amazing performance (by far the best I've seen from him) as the funny, manipulative, sick, drug-addicted, broken, Cop and manages to portrait every aspect of the character. Another piece of awesome acting is delivered by Jim Broadbent who plays his psychologist. The dialogues between him and James McAvoy are just amazing! The rest of the cast is also decent and the characters are all very special in a refreshing way. The only bad thing i can mention about this movie is, that it has some (but small) longueurs. I can recommend it to everyone who likes movies of this kind and has no problem with movies containing a lot of sex, drugs and f*cked up moments :)

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.

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...

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.

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.