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25 years on, and this Danny Boyle effort has lost little of it's authentic, gritty, potency. Set in mid 1990s Edinburgh it follows the antics of a disparate group of friends whose only goals in life are to survive, maybe get laid, and to take each day as it comes... "Begbie" (Robert Carlyle) is their psychopathically charged leader, who thinks nothing of smashing a glass in someone's face; "Spud" (Ewan Bremner) and "Sick Boy" (Jonny Lee Miller) just lurch from one day to the next looking for a fix; "Tommy" (Kevin McKidd) at least tries to live with some semblance of normality - he has a steady girlfriend "Diana" (Kelly Macdonald) and finally Ewan McGregor ("Renton"), whom along with his worldly, and in their way loving, parents, might just see a way of escaping from this relentless misery... What helps this stand out is the fact that director Boyle misses few opportunities to depict the grim depravity in which these people live. Its graphic, violent, distressing certainly, but it is also funny and eminently human - there is a definite sense of "there but for the grace of God" about many of the scenarios and they tugs at the heart strings whilst simultaneously making you cower and wince in disgust or sometimes even fear. The efforts from the talent in indistinguishably good - especially Bremner and JLM whose roles are not so significant as Messrs Carlyle & McGregor's, but who add a depth and richness to what could otherwise just prove to be a rather downbeat tale of hopelessness and emptiness. For once, the gratuitous (for, that it is) use of good old Anglo-Saxon expletives doesn't not appear merely to compensate for a lack of script-writing skills; here the language and violence add significantly to the plausibility of the whole thing - it's ghastly, yet compelling to watch and watch again. It works well again on a big screen, even though the cinematography doesn't really require anything to present scale or grandness, and the soundtrack adds a deliciously contemporaneous dollop of nostalgia, too. Not for the fainthearted, but - in my view - the finest work from all concerned that stands the test of time very well.
Not the most enthralling, but 'Trainspotting' does have plenty to say - and boy does it portray it! There are particularly strong performances from Ewan McGregor, Ewen Bremner and Robert Carlyle. I didn't like watching the bunch of characters given how severely unlikeable they are. Of course, that is very much the intention so it's a credit to the actors and the filmmakers at how convincing it all is. The humour is weaker than expected, perhaps due to the horrors of the plot taking centre stage. Their struggles are showed in a heavy manner, to the point I did feel uncomfortable seeing them do their thing. I do feel post-watch that I'm missing something from it in regards to being able to appreciate it higher, I can't shake that feeling. That's probably the only negative at nailing the realness so much, you miss out on other bits to enjoy about a film; or at least to me. Cool to see this on the big screen, mind. I think it's the first movie I've ever watched at the cinema that isn't a contemporary release. I evidently hadn't seen this before so thought what better way to watch it for the opening time! Now for the sequel (albeit back in the doldrums of home release!😁).
Hollywood, 1930s. Tod Hackett, a young painter who tries to make his way as an art director in the lurid world of film industry, gets infatuated with his neighbor Faye Greener, an aspiring actress who prefers the life that Homer Simpson, a lone accountant, can offer her.
During the '80s, a young man named Frankie dreams of escaping London's South East region, and his mother's thug of a boyfriend gives him just the opportunity. After beating up the abusive beau, Frankie runs off to Spain, where he lands a job delivering a package to the dapper Playboy Charlie, a gangster who takes him under his wing. Working as Charlie's driver, Frankie is immersed in a world of fast cars and pretty women - but all the excess could be his undoing.
Gino, a drifter, begins an affair with inn-owner Giovanna as they plan to get rid of her older husband.
A young man spurs romance and helps his friend and himself go through the struggles of their ordinary life in Denmark.
Jacques is the curmudgeonly owner of a gritty New York dive bar that serves as home to a motley assortment of professional drinkers. Jacques is determinedly drinking and smoking himself to death when he meets Lucas, a homeless young man who has already given up on life. Determined to keep his legacy alive, Jacques deems Lucas is a fitting heir and takes him under his wing.
A headstrong young teacher in a private school in 1930s Edinburgh ignores the curriculum and influences her impressionable 12-year-old charges with her over-romanticized worldview.
A tale about a strange young man, Bulcsú, and the fellow ticket inspectors on his team who work aboard the subterranean Budapest Metro. A tale about racing along the tracks, and about a mysterious serial killer. And a tale about love.
A dishonest businessman asks rich layabout Craig Blake to help him buy a gym, which will be demolished for a development project in Alabama. But after spending time with weightlifter Joe Santo and gym worker Mary Tate Farnsworth, Craig wants out of the deal. The property negotiations turn ugly, causing a brawl at the gym and a spectacle at a big bodybuilding meet, as Craig learns that it's not easy to turn your back on fair-weather friends.
Aisha thought she had found happiness with Arif, a figure who perfectly complemented her life. Making her not hesitate to remove all obstacles, even the most difficult ones, to prove how great her love was. In fact, the love that Aisha believed in not only gave her wings to fly high, but also dropped her from the highest place, taking her to wander the jungle without a clear goal. Making her ask, Have the decisions she has made so far been right? Where will her love find its estuary? Truly God is All-Good, the journey through Ningxia made Aisha realize that time is another form of His goodness. And the most important part is not the beginning, but the end. Always the end.