Glenrothan Review
Like a familiar glass of whiskey, this film doesn’t challenge you, but nevertheless hits you in the gut.
Donal (Alan Cumming) fled his childhood home of Glenrothan in Scotland decades ago for the shores of the USA after a bust up with his father. But when his bar burns down and his brother Sandy (Brian Cox) falls ill, he makes the journey back - and the two brothers, long estranged, try to make amends.
Glenrothan is a relatively by the numbers undertaking, and one imagines that perhaps without the star power on display in front of and behind the camera, it might not have come to cinemas in the way it has. Nevertheless, it’s great to see on the big screen - not least of all because of the spectacular scenery.
The landscape of Glenrothan sucks you in to the story and the sense of place in ways that a digital world rarely does. Whereas some of the sets - like the New York bar - feel a little false or off, perhaps belying the budget of the piece, when Cox leans into the natural wonders and real life elements of his story in Scotland it sings.
Cox is quite excellent in this film. Aside from directing, he also plays the ailing brother, and his performance is restrained, kindly but with backbone - a world away from his television persona as the foul mouthed patriarch of a media empire. Cumming is great also, shedding his reality TV extravagances for a much more gruff, nuanced and introspective role. When they’re on screen together, the film is at its strongest.
There are elements of this film, however, that feel a little staid, or done before. The sets and lighting set ups can feel a little cheap and hallmark-y, and the script is good, but not great. It’s competently directed, but this is a film much more focussed on the human drama than flair, and it at times feels a little off.
Nevertheless, at a brisk 97 minutes and with some of this spectacular scenery on display, Cox and Cumming carry you through to deliver a wallop of emotion that makes it a worthwhile journey.
