brchthethird
TYRANNOSAUR is no easy film to take in. It is a window into a very harsh, unforgiving environment populated with people that have a lot of personal pain. It is also brutally honest in its assessment of the world as a violent place that pushes us to our limits. Still, it isn't all depressing because of chance encounters in which we meet people who seem to be very different from us on the surface, masking pain that is very similar to our own. This is the type of story that TYRANNOSAUR tells, and all from first-time feature director Paddy Considine. He gets strikingly real performances out of his actors and shows a firm directorial hand. There is hardly anything to gripe about here, save a couple of moments of animal cruelty which could turn off a lot of people. I must admit that I was somewhat revolted in those scenes, but they still felt organic to the story. One major theme explored is what people do when pushed to their limits, and there are many instances throughout the film in which this is shown. I don't really want to spoil anything specific, so if a dark psychological drama is something you're into then this will probably be one of the best you'll see.
bowmanblue
Some films thrill you, some scare you, some make you laugh. You choose which one depending on how you want to feel. Tyrannosaur is a fantastic movie, but you have to be in the mood for it. It's not a feel good type of film. It's gritty, nasty, dark, but ultimately uplifting (in a sad sort of way).The main character, Joseph, is introduced to us as he kicks his beloved pet dog to death, smashes a Post Office window and gets into a fight with some youths in a pub. And he's our 'hero' - he's the guy we're expected to root for. If you don't like the sound of him already, you're probably not going to enjoy his tale. He's not the most sympathetic of characters. Olivia Coleman (best known for her comedic roles, such as 'Sophie' in Peep Show) is outstanding, showing just what a versatile actress she is.Some people have criticised it as 'yet more British miserablism.' That's a fair comment. It is pretty miserable. That's why if you're looking for something cheery, it's not for you. However, if you're willing to see just how depressing some people's lives are, you'll be glad you did - I'm guessing not many people are as trapped in such a downward, self-destructive spiral as the two central characters. If nothing else, you'll be glad you're not them.Oh, and don't get your hopes up about seeing giant dinosaurs - it's a metaphor - Jurassic Park, this isn't.
l_rawjalaurence
TYRANNOSAUR offers a bleak picture of life in contemporary Britain. Joseph (Peter Mullan) is unemployed, with a tendency towards violence, who has contributed in no small part to his wife's early death (the Tyrannosaur of the title refers to his widow). He encounters Hannah (Olivia Colman), a middle-class woman working in a local charity shop, who offers to redeem him through prayer; initially he rejects the offer, but as the film unfolds he gradually becomes more and more involved with her. Hannah has as bleak a life as Joseph, having to cope with a violent husband (Eddie Marsan), who eventually rapes her. She stays at Joseph's house, and the two of them form a relationship, even though neither of them can disclose their feelings. Deliberately shot in washed-out colors, TYRANNOSAUR suggests that people are imprisoned by their existences, whether they are working- or middle-class. The only hope of 'redemption' - which is perhaps too optimistic a word - is to trust in one another, and even then, the redemption might be only temporary or partial. This is what Joseph and Hannah discover at the end, even if their meetings are only sporadic. Paddy Considine's film is not for the fainthearted; the language is extreme, and there are violent scenes throughout. It is well written, even though there are one or two implausibilities; at one point Joseph kills a neighbor's dog, who has previously mauled the child Sam (Samuel Bottomley). Normally any dog would have been put down by the authorities after such an incident has occurred. Nonetheless this low-budget film has a powerful effect.
Jim Blumetti
As I admire greatly the work of Peter Mullan, I went out of my way to find this film in its limited run in the states. Peter Mullan, as he does with all his work, again layers this performance with so many wonderful, complex and interesting moments, it becomes impossible to look away. I also found myself extremely appreciative of Paddy Considine's mesmerizing dark script and perfectly nuanced direction. But perhaps I am most grateful for introducing me to the work of Olivia Colman. Ms. Colman gave in Tyrannosaur, undoubtedly one of the most brilliant female performances of the year in one of the most overlooked films of 2011. Even while the dark nature of this film makes it less a candidate for multiple viewings, I found myself upon a second watch, surprised to find so much more to appreciate within Tyrannosaur. Erik Wilson cinematography is wonderful and just so very right for this story. Dan Baker and Chris Baldwin's original music was a delight and made you want more. Simon Rogers's production design and Andrew Ranner's art direction immersed you in this too somber world. I can find no editor's credit, but assume it likely Paddy's as well. Yes, that was spot on also. But to sum up, while the dark and brooding nature of this film may give some viewers pause or lessen its appreciable merit, this is no less than a truly masterful little film done to perfect precision by writer/director Paddy Considine. Which excites us about his upcoming project, The Leaning. When Paddy, when? Soon please, sir!
AD
