First there was an opportunity......then there was a betrayal. Twenty years have gone by. Much has changed but just as much remains the same. Mark Renton (Ewan McGregor) returns to the only place he can ever call home. They are waiting for him: Spud (Ewen Bremner), Sick Boy (Jonny Lee Miller), and Begbie (Robert Carlyle). Other old friends are waiting too: sorrow, loss, joy, vengeance, hatred, friendship, love, longing, fear, regret, diamorphine, self-destruction and mortal danger, they are all lined up to welcome him, ready to join the dance. Click Images to Enlarge
First there was an opportunity......then there was a betrayal.Twenty years have gone by. Much has changed but just as much remains the same.Mark Renton (Ewan McGregor) returns to the only place he can ever call home. They are waiting for him: Spud (Ewen Bremner), Sick Boy (Jonny Lee Miller), and Begbie (Robert Carlyle). Other old friends are waiting too: sorrow, loss, joy, vengeance, hatred, friendship, love, longing, fear, regret, diamorphine, self-destruction and mortal danger, they are all lined up to welcome him, ready to join the dance.Click Images to Enlarge
The film that effectively launched the star careers of Robert Carlyle, Ewan McGregor and Jonny Lee Miller, Trainspotting is a hard, barbed picaresque, culled from the bestseller by Irvine Welsh and thrown down against the heroin hinterlands of Edinburgh. Directed with abandon by Danny Boyle, it conspires to be at once a hip youth flick and a grim cautionary fable. McGregor, Lee Miller and Ewen Bremner play a slouching trio of Scottish junkies, Carlyle their narcotic-eschewing but hard-drinking and generally psychotic mate Begbie. In Boyle's hands, their lives unfold in a rush of euphoric highs, blow-out overdoses and agonising withdrawals (all cued to a vogueish pop soundtrack). Throughout it all, John Hodge's screenplay strikes a delicate balance between acknowledging the inherent pleasures of drug use and spotlighting its eventual consequences. In Trainspotting's world view, it all comes down to a choice between the dangerous Day-Glo highs of the addict and the grey, grinding consumerism of the everyday Joe. "Choose life", quips the film's narrator (McGregor) in a monologue that was to become a mantra. "Choose a job, choose a starter home... But why would anyone want to do a thing like that?" Ultimately, Trainspotting's wised-up, dead-beat inhabitants reject mainstream society in favour of a headlong rush to destruction. It makes for an exhilarating, energised and frequently terrifying trip that blazes with more energy and passion than a thousand more ostensibly life-embracing movies. --Xan Brooks
First there was an opportunity......then there was a betrayal.Twenty years have gone by. Much has changed but just as much remains the same.Mark Renton (Ewan McGregor) returns to the only place he can ever call home. They are waiting for him: Spud (Ewen Bremner), Sick Boy (Jonny Lee Miller), and Begbie (Robert Carlyle). Other old friends are waiting too: sorrow, loss, joy, vengeance, hatred, friendship, love, longing, fear, regret, diamorphine, self-destruction and mortal danger, they are all lined up to welcome him, ready to join the dance.Click Images to Enlarge
The film that effectively launched the star careers of Robert Carlyle, Ewan McGregor and Jonny Lee Miller is a hard, barbed picaresque, culled from the bestseller by Irvine Welsh and thrown down against the heroin hinterlands of Edinburgh. Directed with abandon by Danny Boyle, Trainspotting conspires to be at once a hip youth flick and a grim cautionary fable. Released on an unsuspecting public in 1996, the picture struck a chord with audiences worldwide and became adopted as an instant symbol of a booming British rave culture (an irony, given the characters' main drug of choice is heroin not ecstasy).McGregor, Lee Miller and Ewen Bremner play a slouching trio of Scottish junkies; Carlyle their narcotic-eschewing but hard-drinking and generally psychotic mate Begbie. In Boyle's hands, their lives unfold in a rush of euphoric highs, blow-out overdoses and agonising withdrawals (all cued to a vogueish pop soundtrack). Throughout it all, John Hodge's screenplay strikes a delicate balance between acknowledging the inherent pleasures of drug use and spotlighting its eventual consequences. In Trainspotting's world view, it all comes down to a question of choices--between the dangerous Day-Glo highs of the addict and the grey, grinding consumerism of the everyday Joe. "Choose life", quips the film's narrator (McGregor) in a monologue that was to become a mantra. "Choose a job, choose a starter home... But why would anyone want to do a thing like that?" Ultimately, Trainspotting's wised-up, dead-beat inhabitants reject mainstream society in favour of a headlong rush to destruction. It makes for an exhilarating, energised and frequently terrifying trip that blazes with more energy and passion than a thousand more ostensibly life-embracing movies. --Xan Brooks
First there was an opportunity......then there was a betrayal.Twenty years have gone by. Much has changed but just as much remains the same.Mark Renton (Ewan McGregor) returns to the only place he can ever call home. They are waiting for him: Spud (Ewen Bremner), Sick Boy (Jonny Lee Miller), and Begbie (Robert Carlyle). Other old friends are waiting too: sorrow, loss, joy, vengeance, hatred, friendship, love, longing, fear, regret, diamorphine, self-destruction and mortal danger, they are all lined up to welcome him, ready to join the dance.Click Images to Enlarge
Men Followed. Women Loved. Rome Trembled. Two worlds collide along with the two men who embody the values and essence of these worlds. Attila King of the Huns (Gerard Butler) is a visionary who sees more in his people than they see in themselves. While the Huns are content to plunder and extort the surrounding nations Attila looks beyond to the possibility of an empire and new world order. Roman General Flavius Aetius (Powers Boothe) embodies the best and worst of Rome in the final years of her existence. He is motivated by one overriding goal: Rome must continue to rule the world. Two different visions of destiny held by the two strongest men of the century; these conflicts are at the heart of 'Attila the Hun'.
Two women are thrown together in this black comedy when one accidentally kills the boyfriend of the other to protect her.
Two women are thrown together in this black comedy when one accidentally kills the boyfriend of the other to protect her.
Straight out of the American television movie school of historical thought, Attila the Hun is a glossy, at times long and often ridiculous re-telling of one of the great stories of Ancient Rome. How much of it is historically accurate is debatable--much of the action is ludicrously far fetched--and the image that most of us have of Attila is quite different to the bare-chested, longhaired reject from an 80s soft rock band that is presented here. The film does have its own slightly warped charm, though. The storyline is surprisingly complex, involving plots and counter plots, and the movie does exhibit a sense of epic somewhat in the vein of Gladiator, but is sadly lacking the budget, style or talent. The acting is awful (as befits anything that stars Steven Berkoff) and reduces the political machinations of Rome to little more than Dynasty in togas. Gerrard Butler is a fine actor--as he proved in the recent TV drama The Jury--but is woeful here, delivering his lines in a bizarre trans-Atlantic Scottish accent. At three hours it's way too long, too. There does remain something strangely compelling about Atilla the Hun, though you'll find more reliable facts about Roman history in an Asterix book. --Phil Udell
Please wait. Loading...
This site uses cookies.
More details in our privacy policy