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on 6 October 2013
Filth based on the novel by Irvine Welsh is easily in my Top 10 list of the worst films I have ever seen and trust me I have seen a lot of really bad films. If you have seen the trailers and are expecting a twisted comedy then I'd advise against this awful mess because it is not a comedy; heck, this mess is barely a film.

Starring James McAvoy of X-Men fame as the thoroughly dislikeable leading man Bruce Robertson who through his brilliantly delivered introduction has prepared us [the audience] for a pretty twisted but possibly brilliant comedy, sadly about 20 minutes in this film becomes something else and with zero plot you quickly lose interest in it.

The fact is this is a film with zero plot so we are left to follow Bruce as he goes from one scene to another without caring about him at all. The supporting cast have zero input so the whole film rests on McAvoy's shoulders and sadly he doesn't deliver, not leading man material.

Its not all his fault though as pretty much everything about this film is awful.

I would advise getting Trainspotting instead at least that film had a plot. This mess has nothing.
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on 15 February 2014
I have just watched the DVD after recently re-reading the book for the first time in about 10 years.

First of all I will say, I was not disappointed with James McAvoy's take on the character of Bruce Robertson - when he was cast I was kind of on the fence - while McAvoy is a very great actor, I've followed his career since Shameless (when it was good!) I thought he was a little clean-cut - I'd always imagined the actor to play Bruce would be a little older, and somehow more grubby and weathered looking, however with the aid of a little makeup and a nice ginger beard, McAvoy succeeds in aging himself a good ten years and achieving the full, seedy, effect.

What can be said about Filth? It's the story of a corrupt and sordid detective sergeant in Leigh CID, addicted to booze, drugs and sex - obsessed with the prospect of being promoted to detective inspector, and quite possibly suffering from Bipolar. Bruce Robertson is willing to tread on and manipulate anybody to achieve his own personal gratification - oh and yes, he is supposed to be the lead officer, solving the murder of a Chinese tourist (in the book, he was an African, I've no idea why this was changed).

On the back of only just re-reading the novel I was prepared for some condensation - there are certain aspects of the book that would be hard to imagine translating to screen - the Tapeworm for instance (basically in the book, Bruce becomes host to a Tapeworm living inside of him due to poor diet and hygiene, the Tapeworm talks to the reader through a large portion of the book, filling in the blanks of Bruce's backstory) however I was not prepared for how simplified the film was going to be.

While the Tapeworm is hinted at in the film, the roll is largely taken over by Bruce's hallucinations of his Doctor. Okay, I can accept this, however, I do feel that too many subplots are left out of the film - Bruce and Blade's holiday to Amsterdam (in the film Hamburg) for instance; I really did expect that to be the highlight of the film, but it is so underplayed - in the book, as soon as Bruce's commanding officer, Toal, mentions all leave is suspended, Bruce goes into meltdown and has to pull out all the stops in terms of manipulation (or as he calls it "The Games") in order to get this reversed, while still coming out looking like the dedicated policeman, desperately in need of a break, and grudgingly accepting. In the film, Toal simply announces that political interest in the case has died down and feel free.

Okay, fair enough, but then we get to the holiday itself - in the book the Amsterdam holiday really shows the depths of Bruce's depravity and sexual perversion, he indulges in everything; in the novel its on a plane with blades, a quick drink and a screw (and also spiking Blades drink with E's, causing him to have some sort of fit, for no real reason) then right back on the plane - what I expected to take up a good half hour of the film was over in five minutes!

Other important sub plots are frustratingly hinted on, but not explained enough to make anyone, but people who have read the book, aware of what's going on:

Firstly Bruce's back story - in the book it turns out his father hated him because he was not his real son; Bruce was conceived when his mother was raped by a sex maniac roaming the streets at the time, as she was a strict catholic, she believed she had to keep the baby, Bruce's (now step) father grudgingly agreed - Bruce later visits his real father in prison and beats him half to death. The only hint we ever get that Bruce had any conflict with his dad was when he walks into the florist and sees a Reith spelling "Dad" which he looks at solemnly for a few seconds.

Bruce's brother Davey - Bruce sees his coal dust covered younger brother in hallucinations a few times in the film, but I don't feel this was properly explained - while Bruce and Davy were playing as kids, Bruce pushed Davey off a pile of coal, inadvertently burying him alive, when the pile fell on top of him - serving to much further fuel his stepfathers hatred of him - I felt this story had to be told fully or not at all.

Toal's writing career - at the start of the film it is slipped in that Toal is an aspiring writer, then forgotten about, total throw-away. In the book, Bruce sneaks into the station, and steals Toal's nearly completed film screen-play, and burns it, causing huge depression to Toal. Fair enough, not very relevant to the plot, but either leave it in or forget about it for the film.

And finally the fact that Bruce actually murdered the man whose death the police are trying to solve just because he was black - at some stage Bruce's wife had an affair with an African man, said she loved him and left. Bruce the whole way through is trying to give the impression she has only just gone, but in actual fact it could be months or years. Bruce attempted to "keep her close" by dressing up as her Norman Bates style, as we find out in the latter half of the story. The fact the murder victim was changed to a man of Chinese origin totally ruined this plot point in my eyes and again didn't make it obvious to none-readers of the book, what was going on at all.

There are good points to the films story changes though, particularly near the end - the book in the last quarter became disjointed (Welsh's attempt to reflect Bruce's growing decline) the first 250 pages is total page turning stuff, then it becomes slower, and truth be told a little boring and hard to pay attention to - the film summarises Bruce's downfall nicely.

There is the nice touch of the tape recording to Blades, with much needed advice and warmth from Bruce - it always seemed a little cold in the book that Bruce discarded Blades when he had served his purpose - it was just too harsh.

Then the suicide scene is made much more comfortable and sits a lot better - in the book Bruce intends to hang himself just as his wife and maybe his daughter are entering the house, in the film he is resolved to do it anyway and the fact they ring the door bell, but never come in makes it a lot more palatable.

All in all, its not a bad film, and the acting is brilliant, especially from McAvoy, but to get the true Filth experience, read the book - I kid you not, my sweet, sweet friends!
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on 6 October 2013
This film, whilst having occasional moments that are genuinely witty and funny, is not a comedy. This is a crucial distinction to make, as the trailers and posters are billing it as such. It is actually a very sad, honest and truthful film about a man, with a mental condition, having a complete breakdown.

The film begins with the unkempt and repellent Scottish Detective Sergeant Bruce Robertson (James McAvoy) informing us in one of the film's many fourth-wall-breaking episodes that he wants the new staff promotion that's in the running, and he is going to play each contender off each other so that he ends up with the title Inspector. So far, so In-Bruges-lite black comedy, with a very antiheroic antihero. But it's not long before Bruce has descended into a dark, Scottish vision of hell involving underage sex, copious drug use, tapeworms, Jim Broadbent with a huge head, and dirty phone-calls with the woman who played Moaning Myrtle, and the comedy is there no more.

And so the film goes on, and on, and by the end I found myself crying. At some point, the film became something tragic, and I found myself touched and saddened; this kind of thing happens every day, with people, and it isn't very funny at all. Bruce is trapped in a vicious cycle of behaviour that isn't really his fault, but is entirely his own making. He is horrible, abusive and violent to people, but all of a sudden something happens and he's in tears. He's standing on his best mate's glasses and trashing an art museum, but then, suddenly he's trying to save the life of a man in the street. You might argue that this is the film tonally pulling itself apart, but these patterns and behaviours are true to life.

In the end, the film does a very tricky thing. It begins by creating a loathsome creature of a man, and in the end we feel deeply sorry for him. This is a man who is messed up, and far beyond help. McAvoy does a heart-rending job of bringing him to life, and his performance deserves to be commended. Jon S. Baird keeps a heavy hand on things and makes the film his own, despite imbuing the film with obvious yet justified nods to Kubrick, Lynch, Cronenberg, Refn, et al, and his script gets the balance just right between gonzo weird-ness and not letting us forget that there is a very sad person at the centre of all this mayhem. The supporting cast do effective work also, with Imogen Poots, Broadbent, Jamie Bell and numerous others filling their roles nicely. But this is McAvoy's show. He has created Robertson from the ground up, and it is clear that he understands him; the desperation is almost palpable in some scenes near the end.

All in all, it's not an easy watch, and I doubt I'll watch it again soon in the near future. But this is one of the surprises of the year, and it is an important film that, somewhere lurking amongst the taboos and reprehensible behaviour, has a cracked, bleeding heart; but a heart all the same.
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Bravely Produced by Trudy Styler and Written & Directed with panache by Jon S. Baird (adapted from Irvine Welsh's 2008 book) - "Filth" comes at you like a freight train with a bulldog strapped to its front that hasn't eaten for four days.

Principal lead actor James McAvoy returns to his Scottish roots to play Bruce Robertson - a hideously arrogant scheming misogynistic chauvinistic detective in the Lothian Borders Police force (it was filmed mostly in Glasgow and Edinburgh with some scenes in Germany). As Bruce sits in his Police debriefing room - we get a running commentary from his twisted and vicious mind about the general uselessness of the work colleagues who surround him - each of which he's going to royally shaft in order to achieve a promotion (even if some of them view him as a best friend).

There's his young but still-learning partner in drug-busts Jamie Bell (a man with a challenged appendage in his trouser area and a serious Charly infatuation in his nasal cavities), Emun Elliott as a copper who has questionable sexual preferences (for Scotland that is), the pretty but snootily aloof Imogen Poots whose a lot more savvied than the men think and Gary Lewis as the amiable but rather clueless bobby on the beat and all-round good egg and family man. This seemingly hapless bunch are all overseen by John Sessions as police chief Bob Toal - a winging-it buffoon who would prefer to be suckering up to the literary set at the local Mason's Lodge (superb performance from Sessions).

The story goes like this... A gang of thugs has murdered a young Japanese student in an underpass and whoever solves the case - gets the leg up the ladder. But what Bruce was once good at (detecting crime) now seems to elude him because he's on a twitching hallucinogenic slide into mental and physical madness. His working day consists of snorting copious amounts of cocaine in the toilets of strip bars - swigging whiskey is his car from a polystyrene cup - masturbating to dirty videos in his unkempt alcoholic's flat - eating junk food on the go and last thing at night making obscene phonecalls to the frustrated wife of one of his workmates (a fantastic performance by Shirley Henderson as Bunty). He's even having kinky suffocation sex with the wife of a soppy bifocal accountant he's befriended at the Lodge (yet another stunning scene-stealing turn by Eddie Marsan). Jim Broadbent is his Doctor prescribing him with ever more powerful tranquilisers but in his increasingly encroaching visions becomes a hideous physiatrist from a Doctor Who set with a protracted head and images of tapeworms on his office walls...

As you can imagine this river of human nastiness, untamed debauchery and society miscreants makes "Filth" all a bit hard to take - so why bother? Because both Welsh and Baird are better writers than that - they've imbibed their characters with back-stories that make you care - especially when it comes to the lead character who features in almost every scene of a book they said was un-filmable. Sergeant Bruce keeps seeing the coal-covered ghost of his younger child-brother whom he couldn't save - and images of his sexily dressed mid-30's wife (Shauna MacDonald) saying how great their love life is - when you suspect that she's up and left and taken their 6-year old daughter with her. Inside Bruce is a river of rage and hurt that's hurtling towards the precipice - and as he seems unable to stop - he simply blitzes those feelings away with a tide of narcotics.

A word has to be said about James McAvoy - his performance in "Filth" is magnificent in every sense of the word - wholly believable - and should have been Oscar-nominated despite the dark nature of the material. He portrays his character with full-on commitment. Bruce is in control one moment - scared s***less the next - tender in an instant to one woman then needlessly cruel to another. "Filth" is also very, very funny in a hugely un-PC kind of way - a rare and precious thing in films nowadays - and unashamed about it too. The talk John Sessions has with McAvoy about the Nancy-boy sexual orientation of one of his officers ("This Is Scotland for Gawd's sake!") and the scene where Eddie Marsan's mild-mannered character gets slipped some speed in his lager in a gay nightclub is the kind of darkly brilliant stuff that will almost certainly develop cult status. And on it goes to more violence and more betrayal and more transgender jiggery-pokery...

But if was to nail one bit in the whole movie that shows how good the acting chops and writing is... There's a scene where Bruce is exiting a florist and literally bumps into Mary - the widowed wife of a man Bruce tried to resuscitate in the street when everyone looked on and filmed his dying on their smartphones. Seconds earlier Bruce was physically and mentally vicious to a large sales girl inside the flower shop (pumping her on info about the murder) - but outside - he's transformed. He recognizes Mary and knows that look on her face - her senseless and cruel loss bubbling under the veneer (a lovely turn by Joanne Froggatt who plays Anna Bates the ladies maid to Lady Mary in Downton Abbey). Suddenly his own pain surfaces and tears fill his eyes as she asks after him and thanks him for his kindness on the street that day. There are few actors who could portray such extremes so convincingly - where you can literally feel his hurt and devastation exuding through his pours and his subsequent need to get blasted again. My only misgiving is with the slightly jarring and confusing ending...

The BLU RAY image is a tale of two stories. In order to keep with the down and gritty feel of the drugs scene - the indoor shots are fast and suitably grainy - while the outside shots of the streets are immaculately HD. But the film is travelling so fast and the dialogue so filled with fire and expletives - "Filth" is not the kind of movie where picture quality is on your mind - ever.

The extras are good. There's a feature-length Audio Commentary by Scottish Writer/Director Jon S. Baird, interviews with James McAvoy (10 minutes), Jon S. Baird (10 minutes) and Irvine Welsh (21 minutes), 4 Deleted Scenes, 7 Extended Scenes and a large number of very funny and informative outtakes featuring most of the actors and even Irvine Welsh as a reporter.

"Filth" won't be everyone's idea of a floral arrangement on Valentine's Day and that's for sure - but it's a thoroughly ballsy British film, a brilliantly written and sublimely acted out parable that will stick in your craw for weeks after. Kudos to all who got it made and proof positive that Ireland, England and Scotland can produce world-class movies and actors who can roll with the very best of them.

Amazing and then some...
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on 6 March 2018
Filth substitutes witty dialogue for vulgarity. The first few minutes were shown and I slowly sinked into my seat thinking "...this is going to be one of those films isn't it?". Yet despite the obscene use of sex, drugs and alcohol there is actually a sympathetic undertone. A detective sergeant increasingly experiences hallucinations whilst investigating the murder of a Japanese student, in doing so he is aiming for a promotion to detective inspector. An adaptation of a novel written by Irvine Welsh can only mean two things: It involves drugs and is set in Scotland. Whilst this does not have the same controversial aftershock that 'Trainspotting' made back in 96', it's still unpleasantly warped and enthusiastic in the demented characters it creates. Yes, our "protagonist" is a bully and can only be summed up as the worst detective in all of Scotland, but there is a saddening reason for his inhumane behaviour. A reason that surprisingly compelled me and made the entire third act extremely interesting and enthralling. The tonal shift from what seemed to be pointless ribaldry to then become a character study felt seamless to which I have to give credit to director Baird. James McAvoy possibly gives the best performance of his career and Eddie Marsan is always captivating. Him dancing to Darude's Sandstorm whilst being completely off his face was a beauty to behold. Would've liked to have seen more from Jamie Bell and Imogen Poots who only got to shine rarely during the runtime, but this is purely focussed on McAvoy to which he dominates the screen. The screenplay needed some finesse, just to add the needed additional characterisation and memorability that the film ultimately required. It could've been both crude and intelligently written. The narrative is rather messy during the first two acts, jumping from scene to scene like an Olympic athlete on Speed. It is jarring and will take time to adjust, however this is a brilliantly acted crime comedy that lavishes in its own vulgarity. Not many films live up to their title, but Filth does!
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on 18 March 2014

The main character and narrator in this film is Bruce Robertson, played by McAvoy. He is a Detective Sergeant in Edinburgh, and has hoped of a promotion to Detective Inspector, and will do anything to get it, even sabotaging his colleague's chances. It becomes more and more apparent through the film that Bruce is unhappy and trying to escape some demons, whether that is through drugs, alcohol or mind games. He also likes to play games with his friends, particularly the mild mannered Clifford and his wife Bunty, who Robertson repeatedly prank calls through the film. Using his power as a respected member of the police force, he convinces Bunty that the best way of getting rid of her prank caller is to give in to his demands, which leads to them having frequent phone sex.

As the film continues, it becomes apparent that not all is well with Robertson. He has manic mood swings, and his psychiatrist keeps appearing in dream sequences, in which we find out that Robertson is bi-polar and he is struggling to deal with the death of a younger sibling. His psychiatrist (Jim Broadbent) is a somewhat manic character, and his inflictions and mannerisms were really grated on me, which is probably the point - that the psychiatrist is someone that really does annoy Bruce, but at the same time, he does need his advice.

When Robertson is assigned the role of the lead investigator in the case of the murder of a Japanese student, his promotion seemed in the bag. Instead, this seems to trigger a downwards spiral in Robertson's mental health, he becomes more manic, his hallucinations continue, and he feels he can't disclose an important piece of information in the case - he was a witness but revealing this would mean revealing his private life to his colleagues. Instead he falls deeper and deeper and there is only one way out.

My thoughts

While this is definitely one of the most fascinating films that I have ever watched, it is also one of the most confusing. This film asks a lot of questions, but answers few. I was particularly surprised when the action sped up towards the end of the film, and you feel you might start to get answers, only for the film to end abruptly.

There was a surprising amount of humour in this film. There were some genuine laugh out loud moments, as well as the usual let's pick fun at Scottish people that only the Scottish can quite pull off. There was also humour in the absurd, and I loved the seam of humour that ran through this film. My favourite funny part is where they photocopy themselves at the office Christmas party - you think they won't show everything, but they do, and I think it was the shock at seeing a row of photocopied male parts that made me laugh.

I thought the acting was superb. I have been a fan of James McAvoy, ever since seeing him in Shameless about ten years ago and he really shines in this film. He manages to inject warmth into a character who is, for all intents and purposes, unlikeable. I also thought that his acting, particularly in the manic phases of the film was so believable. It did look as though McAvoy was possessed by something he didn't quite understand. It was also nice to see Jim Broadbent excel in a less comedic role, and I found that his portrayal of Robertson's psychiatrist was fantastic. His voice took on a monotonous, grating, repetitive tone and his mannerisms also sped up more once Robertson fell deeper into his manic episode. It did confuse me slightly seeing Bridget Jones's dad and her friend Jude in this film, but it shows that both the actors excel at different roles.

There is always a danger that when producing a film that deals with mental illness is that it wouldn't be done sensitively. This isn't the case with Filth. Somehow the overriding emotion for me was sympathy for Robertson, and the film left me wanting to stand up and shout at the screen at the end of the film, which has never happened me before. I did really feel for Robertson and what he was going through, and though the film was confusing, it did help give the viewer an insight into the mind of Robertson.

This film has a 76% approval rating on Rotten Tomatoes and while I can't understand why this isn't higher, I know the film isn't for everyone - particularly those who are easily offended. I would definitely recommend anyone watch this film, as it is fantastic and has really stood out in my mind as one of the best films I have ever watched.

I have since watched it again, (after writing the above review) and I must admit that watching the film twice, some of the confusion that I first felt has faded. Knowing what happens meant that I was able to look out for things that I had maybe first missed, and I was able to get answers to some of my questions. I do feel that this is the sort of film that you maybe have to watched 2 or 3 times before you really understand what is going on. Thankfully, my first opinion of this film hasn't changed, I still think it was a fantastic film, and I actually feel that watching it the extra time had made me like the film more. It really played with my emotions, there were sad parts, funny parts and touching parts, it is a real rollercoaster of a film, and while I know it's not for everyone, I would definitely recommend watching it.
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on 4 March 2014
Bruce Robertson (James McAvoy) is an alpha male. Strong, confident and domineering, he is a no-nonsense, successful Edinburgh cop, assigned to the brutal murder of a Japanese student.

Bruce is also a complete b**stard. Favourite for a promotion, his modus operandi is to smear and play his four co-colleagues and promotion rivals off against each other. Corrupt and amoral, he takes illegal drugs, frequents brothels and makes obscene phone calls to esteemed members of the community while - wait for it - impersonating papier-mache headed comedian Frank Sidebottom.

However not all is well in Bruce's world. He has hallucinations, is haunted by the death of his brother (a death he caused, possibly deliberately), is seeing a psychiatrist and is addicted to prescription drugs. He is also estranged from his wife and child, whom he is convinced will return if he gets his promotion.

Bruce's slide from self-assured arrogance into foaming, bark-at-the moon insanity begins when he witnesses a man having a heart attack and fails to save him. This bring back harsh memories and guilt about his brother. His hallucinations become stronger, with his downfall played out in a series of surreal sequences with shrink Jim Broadbent.

Things turn worse for Bruce when he returns from a trip abroad (with the accountant whose wife he is harassing) to find out he has been demoted from the murder case in favour of sassy detective Amanda Drummond (Imogen Poots). Bruce has a resentful crush on Drummond, and she proceeds to humiliate him with fairly-told home truths about his attitude and appearance. This emasculates Bruce and furthers his slide into madness and depression.

Running out of options, Bruce then resorts to writing obscene graffiti on the walls of the constabulary toilet and attempting to frame the husband of the woman he is obscene-calling. His descent into madness is completed when it is revealed he has invented a bizarre high-class prostitute persona for his wife, and is going out at night and impersonating her.

Bruce's tale is told in `Filth', the latest work by writer and director Jon S. Baird, and another adaptation of an Irving Welsh novel. And what a riot it is too. In typical Welsh style, it is gritty, realistic, violent, thoroughly grubby and endlessly quotable ('This is the fist time I've left a brothel with more sp**k than when I arrived'). Above all, it's absolutely hilarious.

As much a tale of self-destruction as crime drama, Filth is a perfect balance of brash humour and pathos, of realism and surrealism. Sensitively written enough for one to have genuine sympathy for the ultimately pathetic Robertson, in spite of his abhorrent nature. It will make you laugh, certainly, it may make you cry. It may also make you need to bathe for a week afterwards. The acting is superb, including a world-class turn from McAvoy, and the direction clever and slick. If you can stomach it, Filth is an early contender for the DVD of 2014.
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on 25 May 2015
I had to write this review because the film is Not magnificent, Not hilarious and Not utterly compelling - the most overhyped words in our language. It's just a film with lots of crude language with a disturbed character being nasty to people and playing nasty tricks on them. I can imagine some people will find that funny, but this film isn't funny, nor hilarious and has nothing whatsoever to do with black humour either, which is yet another (overused) excuse dreamt up by those who want to justify filth, prankish and nasty behaviour as humour. You can compare that with the notion that the more F words a "comedian" uses the more "hilarious" he becomes.
Having said all that, if you like stories with plenty of coarse and bullish behaviour than this film is for you. It didn't do for me, found it rather tedious to watch as it didn't seem to go anywhere. It could be because the story throws you completely at the start with a murder and it even starts with an investigation and than nothing for the whole film until the twist at the end. The film is about the detective's personal life and that's where it stops, the rest of the cast are just the trimmings. The acting and actors are excellent. I think it would be more appreciated if you could watch it a second time. However I'll pass on that one, seen enough the first time.
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on 11 October 2013
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.
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on 13 October 2013
'Filth' is a great film, James McAvoy portrays a character who is utterly horrible but at the same time you can't help liking the anti-hero. The film is incredibly funny and has serious black, dark humour. Although it's not a film to watch if you are easily offended or watching with family. Also I don't know how easy some parts would be to understand for non scottish people as some dialect is spoken. All in all I rate it higher than trainspotting as it's more culturally relevant now, whereas trainspotting was more relevant in the 80's. 5/5.
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