Seeking refuge, compulsive gambler Robert Houston Junior comes home to his estranged father, Robert Senior. Discovering a lapsed compensation claim for asbestosis, Junior resolves to pursue... See full summary »


2 wins & 1 nomination. See more awards »


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Cast overview, first billed only:
Robert Houston
Robert Houston Junior
Kathy Kiera Clarke ...
Nicola Blyth
John Doran
James Martin ...
Laura Harvey ...
Neil McCormack ...
John Hutchison
Anne Downie ...
Barbara Ross
Matthew Bill Boyd ...
Hugh Ross
Laurie Ventry ...
John McLellan
Eileen McCallum ...
Helen Law
David Gallacher ...


Seeking refuge, compulsive gambler Robert Houston Junior comes home to his estranged father, Robert Senior. Discovering a lapsed compensation claim for asbestosis, Junior resolves to pursue the case, encountering the young, ambitious lawyer Nicola Blyth who tells him he must produce a witness to testify on his father's behalf. Beneath Junior's altruism lies an uncomfortable truth. In debt and on the run from wealthy businessman, John Doran, following a disastrous loss at the poker table, Junior's only hope is to get his hands on his father's settlement. But hope, like luck, is in short supply. As father and son set out to find the witness, suspicion turns to torment as Robert learns of his son's motives and the true cost of Junior's betrayal is revealed. Written by Anonymous

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Drama | Thriller



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Release Date:

11 March 2004 (USA)  »

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Aspect Ratio:

2.35 : 1
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User Reviews

A complex cinematic achievement
20 March 2004 | by (California, USA) – See all my reviews

Screening at the recent San Jose Cinequest Film Festival in California, Scottish Director May Miles Thomas' SOLID AIR is a dark and brooding tale set in the twin worlds of high stake gambling. Constantly shifting between the domains of Robert Houston Senior's (Maurice Roëves, Last of the Mohicans) battle against a lapsed claim for compensation after contracting asbestosis within a workplace, and Robert Junior's (Brian McCardie, Ghost and the Darkness) addiction to the poker table. Their world's intertwine yet never collide as both kin set out to inadvertently shuttle each other through their hard times. Father and son portray themselves as lived in figures, intermittently detached from any emotional suffering that they may have endured throughout their unfortunate lives. This undoubtedly adds a certain weight to the characters initially, but the relief from such a morbid existence doesn't come until much later when the air that is solid between them almost suffocates the already complex plot that Thomas has allowed only to breath in the final act. Much of the middle section could easily be discarded. If this were to be so, the film would generally increase it's appeal at the box office, should it secure a cinematic release. However, as the air that is already solid continues to thicken, the plot suffers, and their is almost no relief until it's dying breath, which, when it comes does in fact raise the hairs on the back of the neck, so is it worth the wait? A complex cinematic experience it may well be, equally layered with fine performances from the almost entire Scottish cast does compliment it's charm against the backcloth of the artful, noir-ish cinematography, captured esthetically on high def.

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