Film Diary 2011: Tyrannosaur

The film centres around Joseph (Peter Mullan) who lives alone, collects his giro money and spends most of it on drink. At the beginning of the film we meet him coming out of a bookies, drunk and enraged, where he takes out his agression on his pet dog in an uncontrolled outburst. Following further outbursts Joseph finds himself taking refuge, in a relatably child-like fashion, in a charity shop run by Hannah (Olivia Colman), a good natured Christian woman who tries to help this stranger.

Shortly thereafter, as Hannah and Joseph clash and bond in equal measure, we are introduced to Hannah's homelife, where she is the victim of domestic abuse at the hands of her husband James (Eddie Marsan).

To begin with Considine's film is emotionally fraught, tightly wound and on the edge of exploding - much like Joseph - there's an incredible tension bubbling away, thanks primarily to Mullan's brilliant performance, that could erupt at any second, and this is absolutely riveting and terrifying all at once. Mullan's gift though is to create sympathetic monsters, and in this instance, it's Joseph's awareness that he is a terrible human being that at least allows the audience to will him to 'get better'. His rage is contrasted and complimented by Eddie Marsan as James, who has the largely unthankful role of the abusive husband, his violence comes from behind a facade of geniality, a mask that only slips when he's alone with Hannah.

Olivia Colman is absolutely terrific in her role, capturing the many confused, scared and ultimately optimistic layers of Hannah perfectly. Whilst the detached audience member could just simply ask; Why doesn't she leave? Colman - and Considine - put us into her shoes, making us feel as trapped as she is.

As these lives coincide events seem destined to descend into violence, coupled with a sub-plot about a young boy who lives over the road from Joseph whose mother is dating an aggressive man with an equally aggressive dog. In a way the film is a tense wait, a clenched fist, before the first outburst, which is, unfortunately, where the film stumbles a little. Coming together to a conclusion that's a little too neat and tidy.

Nonetheless, the film is brilliantly acted by its entire ensemble and Considine is a confident and elegant writer/director, aided by Erik Wilson's beautiful, desaturated cinematography. It's a film that will inevitably compared to the work of Considine's friend and frequent collaborator Shane Meadows (Dead Man's Shoes), but it is not necessarily derivative, it just goes to show why the two works so well together, sharing a down-to-earth and honest approach to difficult stories that occur all around us.

Despite a somewhat disappointing resolution this is one of the most compelling films to be released this year, with Mullan on fine form as ever and Colman utterly deserving of the highest accolades and recognition for her surprising - if you only really know her from Peep Show and Green Wing - turn. A powerful, truthful and sombre film.

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