Ne’er-do-wells. So this is about a miscreant family that lives in mobile homes. One of the family members (Michael Fassbender) wants to get away from this way of life, but the rest of the family keeps pulling him back in. After a heist goes wrong, it is soon time for him to make some decisions if he wants to evade the law. I watched this a week ago, and I’ve got to say: it has not stayed in the forefront of my brain, and I don’t actually remember a ton about it. Plot points are already fading from my memory, and from that fact alone, you can probably guess where this review is headed.
Which is a shame, because it looks promising on paper.
Now the main reason why this even grabbed my attention is because of the actors involved. I literally knew nothing else about it before I watched it, but Fassbender and Brendan Gleeson are good enough actors to merit taking a chance on a project. This movie has a quite few problems. For one thing, the accents are thick, and the dialects make it difficult to follow the story. Maybe I should have turned on the subtitles, but it was apparent pretty early on that this isn’t an important movie like Trainspotting that demands multiple viewings (and you absolutely need subtitles the first time you watch that film), so I just powered through it. In addition to that, this movie is all over the place from a tonal standpoint. You will have humorous moments with these lowlife characters because they live such a radically different lifestyle, and then you’ll have dark moments sucker punch you out of the blue. I usually have a disconnect when bad things happen to dogs or just animals for that matter, and this is the type of movie that you see a pet and you just know that things are just not going to end well.
Shocking, I know.
The real nail in the coffin for this movie is that there isn’t a single likable character featured here. Everybody is looking out for themselves and solely that, and they treat their own blood like garbage. It’s pretty astounding that these people aren’t already in prison or dead, and their very existence seems like an enigma. There are a few effective scenes that anchored by Fassbender, but this is one that you can probably skip.
Trespass Against Us (2016) **1/2
– Critic for Hire