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Outcast


When you’re an established director in British television it must be important to time your leap into films. It could be a matter of waiting for the right opportunity to come along. You might have a brainchild of your own to nurture into life. However you go about it, mistakes could be fatal for your aspirations. Do you stick to what you know or strike out boldly to get yourself noticed?

Colm McCarthy adopted the practical approach of a bit of both. Born in Edinburgh, his debut feature is set in the city and packed full of bleak, grey vistas. They’re similar to the gritty tone of one of McCarthy’s previous credits, Murphy’s Law. And McCarthy relies on the star of that show, James Nesbitt, to head up a strong line-up of British acting talent in Outcast. The director also co-wrote the film, which is a shocking and dramatic departure from glossy programmes like Hustle, The Tudors and Spooks which also adorn his CV.

Outcast is the tale of Mary (Kate Dickie) and Fergal (Niall Bruton), a mother and son pair that find themselves settling into a dingy, dirty flat on a rough estate on Edinburgh’s outskirts. As the film progresses it’s clear that Mary is fiercely protective of her son and that she and him are running and hiding from something dark in their past. Connections which link them to Cathal (Nesbitt) gradually surface, who arrives in the city on a primal hunt to kill. It doesn’t take long before members of the recognisable British cast start dropping like flies, but the culprit remains ambiguous right up until the climax of the story.

From the start Outcast tries too hard to establish its weird, horrific credentials. Rather than subtly revealing the occult aspects to the story, the clunky script hammers them home. We watch as Nesbitt’s character endures the application of painful ritualistic carvings to his back and immediately afterwards, Dickie’s mysterious mother drawing blood from her own naked chest and daubing ancient symbols over the walls. Later when Fergal’s teen love interest Petronella (Hanna Stanbridge) barges into the flat and discovers these odd images, Fergal simply explains his mother has different beliefs, rather than panicking or struggling more realistically (and interestingly) to keep the secret burden from his friends. Equally bizarrely Petronella isn’t fazed.

With so much blood and gore on show, Outcast needs strong, engaging and believable characters to be watchable. Unfortunately a weak script again lets down the cast. Most of the characters are nothing more than stereotyped caricatures. The highly sexed yobs on the estate are entirely predictable, as is Doctor Who’s Karen Gillan’s small role as an estate slut. Petronella’s simple brother is also a cardboard cut-out of a character. Her relationship and eventual love for Fergal, a key pillar of the plot, is not at all convincing. Another faulty key ingredient is Nesbitt’s miscasting as the menacing pursuer. Most of the time he appears baffled and far from frightening. Christine Tremarco gives a good performance as a rather pointless housing inspector and Dickie’s genuinely mysterious mother is just about the only character with the capacity to deliver proper scares. She does so a number of times, springing out from nowhere on her wandering son, issuing warnings and cursing Tremarco’s character so that she loses her mind.

For a horror film Outcast is far too predictable and its execution is heavy handed. All the pieces of a really gripping, frightening story are there but they simply don’t fit together in the right order. The crucially important occult influences are both overused and not ever satisfactorily explained. Grand themes like repressed sexual desire, forbidden fruit and ancestor’s sins returning to haunt the next generation, never quite come off. Brutal sacrifices and attacks, potentially original elements of the story, are uncomfortable to watch but never truly shocking. When more traditional scares arrive in monster form, the special effects look amateurish and almost laughably like a parody of a classic.

Most of the praise heaped upon McCarthy’s debut feature seems severely misguided in my view, although one review is right to hail the project an “ambitious” one. Sadly for the British film industry, Outcast lacked both the polished script and the resources to pull off what it was attempting. Throughout the whole thing you’re never quite sure what’s going on, but you’re never shocked or scared either. Outcast’s two dimensional plotting and characterisation means that a handful of sexy scenes, the charms of rising star Hanna Stanbridge and continuous gore are all that’s left to endear it to the (I suspect male) teenagers keen to get hold of it on its release, despite the 18 certificate.

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Up/The Other Guys


I saw both Disney Pixar’s Up and the latest comic offering from Will Ferrell, The Other Guys this week. Needless to say these two films are poles apart in many ways, but they are also both funny, entertaining and worth a look.

Up first is Up, then. I was keen to see this simply for the renowned beauty of Pixar’s animation. I had absolutely loved the look and style of The Incredibles, a Pixar picture based upon ordinary humans as opposed to toys, or fish, or cars. I liked seeing ordinary suburban objects vividly rendered in marvellous colour, as well as the wonderful expressions upon a human, animated face. Up follows elderly widower Carl Fredricksen from the very ordinary start point of his home on a varied, beautiful, unpredictable adventure to South America. At first Up really does dwell on the perfection of its visuals, with a dialogue-less montage depicting Carl’s entire married life feeling like a work of art; a mini-film in itself showing off the talents of the team at Pixar. However as always with these films there are dollops of sentiment that wedge lumps firmly in the throat and bring tears to the eyes. As with The Incredibles the action sequences are also genuinely gripping and jolting as well as visually stunning. Perhaps most impressively these action set pieces fit into a unique and original story and don’t feel out of place. Carl steers his house, elevated by numerous multi-coloured helium balloons, all the way to Paradise Falls, the destination of his and his wife’s childhood dreams, negotiating bruising storms and encounters with strange creatures along the way.

For a children’s film, Up is incredibly touching and engaging. It is not surprising that the film is often funny given its intended tone and audience, but it is impressive that the gags roll alongside a heart-warming story of an elderly man looking for purpose in life and not expecting to find it. The whole thing uses the nostalgia of its central character and the soundtrack often sounds like the sort of thing you’d hear on a ride at a classic, retro fun fair, with clever variations on a repeated main theme for sad or happy, wondrous moods. The film rarely drags, despite there being few actually hilarious moments and this may be due to the overall gloss of the visuals, as well as some excellent voice acting. There is a point where you fear the narrative may fizzle out, but some superb climatic action sequences resurrect things. Overall Up is a tender tale, with some occasionally insightful dialogue and a healthy sprinkling of originally executed ideas, such as the stream of consciousness talking dogs. And of course it looks marvellous.

The Other Guys is not heart-warming and indeed relies more upon cringe inducing humour at times, but it shares with Up a feeling of originality in its storytelling, along with some riveting action scenes. For me the strongest point of The Other Guys was its ability not to take itself too seriously. It was simultaneously a cop movie, an action movie and a comedy movie, as well as aiming piss taking swipes at all these genres and more with some brilliant gags. I cannot usually tolerate the onscreen presence of Will Ferrell and I do my best to avoid his films like the plague. But alongside tough guy Mark Wahlberg, brilliantly embracing a comic role, and outside of a sports setting, I bought into the guy as a comic genius at times. I cannot remember all the successful jokes in the movie but amongst the best was a silent fight at a funeral, a hilarious, not at all subtle exchange about a mug with the label; “FBI-Female Body Inspector” and a “bad cop-bad cop” routine. All of these moments and more had me and others in the cinema laughing loudly.

Unusually for such a film the plot to The Other Guys doesn’t feel completely redundant either, which is an added bonus for a film brimming with hilarious moments and ensures it is something more than a collection of comedy sketches. Admittedly lingering flashbacks on both Wahlberg’s character mistakenly shooting a star baseball player and Ferrell’s college career as a pimp do feel a little like detached sketches, but all in all they just about masquerade as relevant back-story, especially when funny. The action sequences are either big, brash and completely ridiculous, as with the car chase at the beginning featuring “the guys”, Samuel L. Jackson and Dwayne Johnson. Or they are big, brash and slightly less ridiculous, vaguely fitting into the plot and wowing the audience, for example a climatic, clichéd gun fight is followed by a “grand theft auto” inspired car chase with an impressive, destructive collision. A somewhat baffling credit sequences detailing the excess and waste of the world’s bankers belatedly aims to give The Other Guys a moral compass. Steve Coogan’s amusing financial swindler was certainly not treated as some evil tycoon within the film, but simply as an idiot. In many ways The Other Guys is an idiotic film, which idiots and those who enjoy the mishaps of fools alike will be able to enjoy and find hilarious. However I think it’s a cleverly composed piece of stupidity.