Enkelten siivu

Yesterday was my birthday and this was the film my wife and I decided to go out to watch, even if it seemed almost all the other screens at our 'Plex were showing "Spider Man". I think we made the right choice. It probably helped our enjoyment being from Glasgow enabling us to play "Spot the Location" as you invariably do in these situations and of course our familiarity with not only the "types" portrayed in the film but also their what I'll politely term vocabulary and vernacular.

What it is at heart is a caper film involving four young offenders who as part of their "community pay-back" sentences get taken under the wing of a good-hearted middle-aged "minder" well played by John Henshaw and learn that they have a penchant for whisky-tasting after a sponsored visit to a distillery. From there, they hatch an unlikely plan to steal for a private collector extracts from a rare cask which takes them up to the islands on an intrepid mini-"Mission Impossible", which after some ups and downs ends happily for all.

The film displays Ken Loach's by now usual mix of naturalistic realism with everyday settings and improbable plotting with attendant unlikely coincidence along the way. The film starts with a couple of violent scenes to fully convey the tough environment from which the protagonists are seeking a way out but changes into a different film altogether when the four decamp to the Highlands to carry out their ingenious theft. That dichotomy in retrospect seems a little forced at times and the coincidental nature of the plotting which affords them their once-in-a-lifetime opportunity stretches credulity as it settles into almost Ealing-esque territory but it's carried off with some flair and conviction with a nice human touch at the end to send everyone home out of the cinema with a "feel-good" smile on their faces.

The ensemble acting is as usual with Loach of a high standard. Paul Brannigan as the brains behind the misfits shines but each of the four comes across with their own personality. The dialogue is sharp and up to date with some funny set-pieces thrown in too, particularly those involving the wrong bike and how a recovering junkie slaked his thirst.

Overall, once you suspend disbelief at the plot development and denouement, this is an easy film to settle down and enjoy. My wife and I certainly did, happy birthday to me!

hilarious at the start, a unique storyline, great entertainment throughout the whole film, this film is well worth seeing. Attended the premiere today and loved the film from the start to the finish. The whole film had a fresh feeling about it that is both thought provoking and just pure entertainment. The film shows how difficult it is to break away from a situation you are born into but how, with a little imagination, luck and creativity along with someone who believes in you, some things can change. I you want to go and see a film that doesn't follow a theme covered many times before and want a good laugh then this film is for you. If you want something same old same old then go and see something else.

Every Ken Loach movie strikes by its accuracy and social realism, same goes for "The Angels' Share".

The movie is pleasant and endearing overall. The script relies on a pretty good mix between drama and comedy with well written dialogues. However, the story is in fact quite linear in its unfolding with a few overlong passages, clearly lacking depth and substance. Also, the characters are a bit shallow and under-developed, but still touching and one can easily feel sympathy towards them.

Last thing: the cast is outstanding and accurate in their performances, as usual with Loach.

'Never judge a book by it's cover' is a line used roughly halfway through this relatively benign recent effort from British directing stalwart Ken Loach. This is a maxim to keep in mind if approaching Angel's Share with the poster's main advertising soundbite 'Scotland's answer to The Full Monty' as a trusted precursor. Like wine or whisky tasting itself, much of a film's effect is to do with the aftertaste, and it is only in the closing third of the film that the aforementioned tagline could bolster a challenge to be relevant at all, as Angel's Share, upon full viewing, provides an awkward mixture of traditional 'Loachian' working-class realism with lovable-rogue, schadenfreude comedy.

There is much to like and take away from Angel's Share, including great dialogue, brilliant comedy and memorable characters. The problem is that these elements span what feels like two films fighting each other to exist in one, with neither sitting comfortably together or allowing the viewer to solidify a perspective to settle on in terms of their relation to the main characters. It could certainly be argued that this should precisely be the case for the parts of the film which reflect how ambiguously and inconsistently characters in real life can behave, but when Loach suddenly wants to do good on that tagline, all that comes before betrays the impish, happy-go-lucky final third that is well written yet foreboded by scenes not dissimilar from the violence in films like Sweet Sixteen. Imagine some of the generic, heart-warming, feel-good comedy scenes in The Full Monty interspersed with gang beatings and attempted grievous bodily harm and you can imagine the failed dichotomy displayed during Angel's Share.

This disharmony in tone, however, is pleasingly the only main fault of the film, which can certainly be included as another of Loach's great accomplishments. Taken on a scene-by-scene basis, both the characters and the actors portraying them are addictively watchable, as they blunder and plunder as worst and best they can in the context of their worlds. The theme, born from the meaning of the title itself, is subtly explored and comes wonderfully full circle as that aftertaste at the end is about to kick in. There is honest drama amongst the frivolous escapading, much coming via the standout performance by John Henshaw as the poor guy charged with overseeing the group's community service tasks. It also includes the only known example to me of the use of '(I'm Gonna Be)' 500 Miles by The Proclaimers where the lyrics actually fit the context of the story as opposed to simply occupying a clip because they are Scottish (other stereotypes do exist, however, such as Irn Bru and kilt wearing, though these also exist in logical situations even if they may grate some at the front end).

Loach's style is never compromised as regards to the way the film is shot, even if it strays in tone come the end of the story. Glasgow is shown rather than shown off, with barely an establishing shot in sight, helping to bring the viewer down to the level at which the characters themselves exist at - drab interiors, hostile alleyways, rundown tenement areas, etc. It is when the group set off on their daring 'heist' that the beautiful shots of the Highlands offer a sensible contrast as a visual metaphor - the job at hand providing faint hope of starting afresh (even though it is still a crime they are intending to commit). An awful, almost ten-minute tour of the whiskey distillery makes you feel like you've wandered into the filming of a tour itself rather than still watching a film, but is subsequently saved by the attempted pilfering of the 'Holy Grail' of whiskies - perfectly paced and ramped up with tension. In fact the crux of the story is so well crafted it almost makes you forget how little reason you should have to root for the success of the group's plan in the first place.

Intentionally ambiguous yet jarringly inconsistent, Angel's Share succeeds in delivering an entertaining and memorable mixture of comedy and drama. Just ignore that tagline, and watch out for the aftertaste . . .

My main conclusion after watching The Angel's Share is that I haven't seen enough Ken Loach films.

Obviously I was interested to see The Angel's Share given the Scottish setting and the little bit of hype that the film has received here through its appearance at the Cannes Film Festival. I wasn't disappointed by any aspect of the movie and would recommend it to anyone.

The characters are real and the acting is hard to fault. The film strikes a great balance between highlighting the mistakes the main character, Robbie, made in the past and not being overly sympathetic, and at the same time recognising that he deserves a chance to build a better future and put it all behind him. The inclusion of the scene where Robbie is confronted by one of his former victims and the victim's family was inspired.

All of the performances given are believable, but i'd reserve a special mention for John Henshaw, who plays Harry. There's an almost intangible sadness to the character where you know he's also trying to make up for earlier mistakes in his life, although the film never goes into details. Very understated and poignant in parts.

Above all, this is a film with heart and has something for everyone.