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Filth (2013)

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A corrupt, junkie cop with Borderline Personality Disorder attempts to manipulate his way through a promotion in order to win back his wife and daughter while also fighting his own borderline-fueled inner demons.

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, (novel)
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9 wins & 12 nominations. See more awards »

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Cast

Cast overview, first billed only:
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Bladesey
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Gillman
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Inglis
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Gus
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Toal
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Carole
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Dr. Rossi
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Mary
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Chrissie
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Gorman
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Bunty
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Storyline

Scheming Bruce Robertson (James McAvoy), a bigoted and corrupt policeman, is in line for a promotion and will stop at nothing to get what he wants. Enlisted to solve a brutal murder and threatened by the aspirations of his colleagues, including Ray Lennox (Jamie Bell), Bruce sets about ensuring their ruin, right under the nose of unwitting Chief Inspector Toal. As he turns his colleagues against one another by stealing their wives and exposing their secrets, Bruce starts to lose himself in a web of deceit that he can no longer control. His past is slowly catching up with him, and a missing wife, a crippling drug habit and suspicious colleagues start to take their toll on his sanity. The question is: can he keep his grip on reality long enough to disentangle himself from the filth? Written by Lionsgate UK

Plot Summary | Plot Synopsis

Taglines:

No one gets off. Until he does. See more »

Genres:

Comedy | Crime | Drama

Motion Picture Rating (MPAA)

Rated R for strong sexual content, graphic nudity, drug use, language and some violence | See all certifications »

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Details

Official Sites:

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Release Date:

24 April 2014 (USA)  »

Also Known As:

Brud  »

Filming Locations:

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Box Office

Budget:

$5,000,000 (estimated)

Opening Weekend:

$7,526 (USA) (30 May 2014)

Gross:

$34,321 (USA) (18 July 2014)
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Company Credits

Show detailed on  »

Technical Specs

Runtime:

Sound Mix:

Color:

Aspect Ratio:

2.35 : 1
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Did You Know?

Trivia

There is a poster of 2001: A Space Odyssey (1968) in the character who enjoys writing screen plays office. See more »

Goofs

When Ray tells Bruce that he will apply for the Inspector position, Bruce burns a hole into the couch with his cigarette. In the next shot, the cigarette is completely lit, with a full amount of ashes at the top. See more »

Quotes

[first lines]
Carole: People ask me, "Carole, how do you and Bruce keep the spice in your marriage?" Well, I tell them it's really simple. I'm just the ultimate tease.
[walking down the hallway in lingerie]
Carole: Me and Bruce, we're not that different. We know what we want. We know how to get it. Like this promotion he's going for. We both know he'll win. And when he does, the Robertson household is gonna be one big, happy family again. I kid you not.
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Crazy Credits

Light-hearted animation featuring farm animals and cast credits. See more »

Connections

Featured in Showreel: Jasmine Kills Again (2013) See more »

Soundtracks

The Little Drummer Boy
Performed by The Harry Simeone Chorale (as Harry Simeone Chorale)
Written by Katherine Davis (as Davis) / Henry Onorati (as Onorati) / Harry Simeone (as Simeone) © 1959
Published by Delaware-Music Corp.
All rights administered by Warner/Chappell Music International Led
All rights reserved
Courtesy of Island Def Jam (United States)
Under license from Universal Music Operations Ltd
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Frequently Asked Questions

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User Reviews

 
Grubby in a good way
11 October 2013 | by (United Kingdom) – See all my reviews

This is another film adaptation of an Irvine Welsh novel that was referred to as "unfilmable", although when reading the book when it first came out I for one was struck by the tightness of the narrative and the cinema-friendly focus on a single protagonist.

The antihero in question is Bruce Robertson (James McAvoy), a dodgy copper trying to make the most of a promotion opportunity by ruining his rivals through a series of cruel intricate schemes. Meanwhile, his mind is deteriorating, and he's haunted by flashbacks, waking dreams, and humanoid livestock. The film is fairly faithful to the source, and the changes (including some understandably blunted edges) are down to the different artform.

Irvine Welsh has said that McAvoy's performance is better than De Niro's in Taxi Driver. I don't think this is a suitable comparison. Scorsese's seminal feature was about a post-traumatic depression, whereas Jon S. Baird's film is more manic. For me, the film Filth most resembles is A Clockwork Orange. Like Kubrick's masterpiece, the entire aesthetic is informed by the subjectivity of the central character. And there are subtler nods: the use of classical music, the bleached windows, Jim Broadbent's reinvention of the Deltoid character (a probation officer then, a psychiatrist now), and the visual reference to 2001: A Space Odyssey.

Before the film's release, I wasn't convinced by the casting of McAvoy, but after watching it I can safely say he's transformative – to capture such bipolar savagery and the fear in a single facial expression is the sign of a special performance. The supporting cast provides a colourful blend of caricatures. Jamie Bell, Eddie Marsan and Imogen Poots all make an impact in the few moments when McAvoy isn't dominating the screen.

For me, the dud notes concern the tone of the film. Sometimes Baird's shifts between the schizoid black comedy of Robertson's outbursts and his introspective guilt about his past are so sudden and sentimental that their capacity to convince is lost in the (lack of) transition. Part of this is down to Clint Mansell's disappointingly soft score, whose tinkly piano and lifeless strings often feel incongruous, more awkward than deliberate.

But these minor issues don't detract from a powerful, funny, and finally moving depiction of mental disintegration. To say that it's the best Welsh adaptation since Trainspotting may not be saying much – so I'll say instead that it's a very good film in its own right.


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