Paddy Considine
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Actor Considine follows in a great British tradition of British actors choosing tough stories for their first films – such as Gary Oldman’s Nil By Mouth; Tim Roth’s The War Zone and Samantha Morton’s The Unloved – and he has delivered a dazzlingly intense film that is tough to watch but completely memorable and challenging.
Joseph and Hannah’s mutual salvation at least provides some very bittersweet optimism compared to equally difficult films about family violence and persistent guilt, like Tim Roth’s The War Zone (1999) and Peter Mullan’s own Neds, released earlier this year.
As Joseph, a truculent, desperately alcoholic knucklehead, Mullan falls somewhere between the feral ferocity of Robert Carlyle's Begbie in Danny Boyle's Trainspotting and the visionary nastiness of David Thewlis's Johnny in Mike Leigh's Naked.
As a director, he own work has ranged from the bitterly amusing (“Orphans”) to the enraged (“The Magdalene Sisters”).
It might have been in " Trainspotting ," " My Name Is Joe ," " The Magdalene Sisters ," " Young Adam " or even playing a death eater in the latest "Harry Potter."
The cinematography by Erik Wilson ("Tyrannosaur," "Submarine") evokes '50s noir with lots of smoke, shadows, grit and minimal lighting, with everything coming together in a fully realized setting that is wholly original and a lot of fun to take in.
But the movie’s opening scene, where the great British actor Eddie Marsan (from Happy-Go-Lucky and Tyrannosaur among many many others) plays a vintage-obsessed Gen-X collector who first dusts off the cursed tape and gets the horror ball a’rollin, presents its case smartly right upfront—it can be seen there smack-dab in his spoiled self-interest, locked away in his perfectly curated man-cave, as he without hesitation passes the evil off to those who come after, like its a game of hot potato with the nuclear football in hand.