A motorcycle stunt rider turns to robbing banks as a way to provide for his lover and their newborn child, a decision that puts him on a collision course with an ambitious rookie cop navigating a department ruled by a corrupt detective.
A teacher lives a lonely life, all the while struggling over his son's custody. His life slowly gets better as he finds love and receives good news from his son, but his new luck is about to be brutally shattered by an innocent little lie.
Thomas Bo Larsen,
A brilliant plastic surgeon, haunted by past tragedies, creates a type of synthetic skin that withstands any kind of damage. His guinea pig: a mysterious and volatile woman who holds the key to his obsession.
Out on parole after 8 years inside Bill Hayward returns home to find his now 11 and 15 year old sons abandoned by their mother and fending for themselves. Unwilling to play Dad, an uncaring... See full summary »
The film uses "Non-Educated DelinquentS" as a "backronym" for "neds" as it is commonly used in modern day Scotland since the 90s. The English equivalent is chav. Many people including police officials and politicians (including famously Rosie Kane MSP) have discussed the term ned using this definition. As the term ned has been used far longer and dates back to the 19th century according to the OED it is not proven that this is the true origin of the term. See more »
The film is set in 1973. In the disco scene, "Teenage Rampage" by The Sweet is one of the records played. "Teenage Rampage" was released in January 1974. The band's previous single, "Ballroom Blitz" (September 1973) would fit with the film's chronology, but "Teenage Rampage" is better suited to the narrative which may explain the decision to use the later recording. See more »
They love us 'cause we tell it like it is, and we don't bow down to anybody.
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Growing up in inner city Glasgow in the Seventies, gangs are ubiquitous. The stories of stabbings and kickings have an awful, magnetic allure. Jimmy Boyle, mythologised by his lack of presence due to incarceration, like an Anti-Mandela figure, is the archetypal hardman in a town still nicknamed No Mean City. Glasgow's Miles Better has yet to be thought of. And school is not where you learn, it is where you survive.
Like Lynne Ramsey's Ratcatcher, Neds resonates with Glaswegians born in the Sixties who grew up in this mayhem, and now look at it with the benefit of age and distance and wonder how we ever took it for normality.
John is the academically gifted younger brother of a locally respected/ feared ned. His father is mostly missing or drunk, his mother struggles to cope. Like many Scots, the family role model is the one who has exiled herself. Joe's big brother Benny (a charismatic Joe Szula) provides a buffer between him and the worst of the violence - but also gives him a free pass towards initiation. Mean, visceral humiliation from local bully Kanta propels John away from study and towards Benny's sphere of influence. After many trials and betrayals, John survives that, till another humiliation at the point of a crossbow pushes him again to the brink.
Cinematically, Mullen is playful and challenging here. The director says Kubrick and Peckinpah were evoked in keeping with the time; the duct taping of knives to hands is pure Peckinpah, and the juxtaposition of foot-tapping music with jaw-breaking violence recalls Kubrick. The ending is big canvas cinema, but it worked for me. There is also a lovely rhythm here, the gangs running toward and away from each other more often than not. That's how I remember it in Maryhill - big boys always running after or away from other big boys.
Drunk Dads (Mullen in an acting career best), Bolan, six of the belt, winchin' up the graveyard, change on the buses, Provvie cheques - I loved it. But then I grew up with it. Outside Glasgow, and a certain generation, this might be more difficult to access. It will do better in Europe and Asia where the subtitles will help, and the essential coming-of-age story will rise to the fore more.
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