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Official site for the acclaimed immersive adaptation of Irvine Welsh's classic novel, playing at The Vaults in London Waterloo and touring internationally.
Do you define that generation anew, through thicker bifocal lenses, or do you pass the baton to a younger one? Both are valid approaches. Neither is quite the one taken by “T2 Trainspotting,” a shinily distracting but disappointingly unambitious follow- up to 1. Edinburgh wretches to say simply this: Middle- aged masculinity is a drag, whether you’re on smack or off it. As a fan- service exercise, Danny Boyle’s itchy, antic caper just about passes muster, reassembling “Trainspotting’s” core ensemble, soundtrack cues, and even its seasick camera moves for two hours of scuzzy nostalgia.
Yet it largely passes up the opportunity to update the original’s caustic social snapshot of contemporary Britain — a region itself currently preoccupied with the rearview mirror, though the irony isn’t necessarily noted. In the U. K., where Boyle’s film has opened ahead of its international premiere at the Berlinale, the throwback has clearly landed: the clumsily titled “T2 Trainspotting” grossed over $6. The film’s repeatedly delayed genesis is apparent in the final product, which tosses some short- cut references to the present day (including some near- desperate social- media namechecking) into a story world that’s otherwise politically vague — a cleverly roundabout allusion to Scotland’s recent independence woes notwithstanding. One early punchline, meanwhile, might strike a reactionary note for viewers entangled in the heated rhetoric of Brexit Britain.
T2: Trainspotting (2017) - Druga cz
No, this isn’t the Edinburgh that Renton fled 2. The squalor of the mid- 1. Production designers Mark Tildesley (“High- Rise”) and Patrick Rolfe crowd frame after frame with an assortment of piled scrap metal and miscellaneous debris. Neither is Renton quite the same man. The gangly skinhead of 1. Watch New That Sugar Film (2015) Online there. Mc. Gregor, first glimpsed running himself ragged on a swanky gym treadmill — a marked contrast to the frantic sprinting from police that opened the original, in the first of numerous visual and rhythmic parallels drawn by Boyle, cinematographer Anthony Dod Mantle, and editor Jon Harris.
At a loose end following a recent divorce, he returns to his hometown to reconnect with old acquaintances for reasons Hodge’s arbitrarily ambling script never makes quite clear. He can’t be surprised to find that former best friend Simon (Jonny Lee Miller) still holds a bitter grudge after Renton stole his share of the aforementioned drug money, though he’s not quite as violently vengeful as fellow wronged associate Begbie (Robert Carlyle), newly self- liberated from prison and on the bloody warpath. Meanwhile, their affably hopeless friend Spud (Ewen Bremner) observes quiveringly from the sidelines, still struggling to kick his heroin habit, and channeling his nervous energy into an unexpectedly authorial role in their joint saga.
In their efforts to delay a complete reunion of this sorry foursome until the eleventh hour, Boyle and Hodge keep a lot of plates busily spinning, without serving much meat on any of them. Tentatively reconciled, Renton and Simon embark on a project with the latter’s Bulgarian sex- worker girlfriend Veronika (Anjela Nedyalkova) to convert a derelict pub into a brothel. In the most jarring shift from the original, the character of Begbie has been ramped up from reckless oddball to wild- eyed, scarcely plausible psychopath: In between bouts of knife- wielding rage, he attempts to lure his estranged, upstanding son into the underworld. The script makes strained digressions for other returning faces: A sleek Kelly Macdonald shows up for a single scene to offer haughty legal counsel to Renton, while Shirley Henderson is granted a single line as Spud’s mournfully weathered ex. Wilson (2017) Online. Indeed, the new film’s rather high- handed treatment of its female characters may be its biggest letdown: At a push, one could argue that such sidelining reflects how the manchildren at its center have failed to evolve, though “T2” is entirely complicit in their dissolute uselessness. Where “Trainspotting’s” dive into the void was targeted, bristling with snarky anger at a Conservative system that provided few lifelines, “T2” — despite landing in a Britain once more under divisive Tory rule — is mostly content to let its characters alternately indulge and excoriate themselves.
So we tipsily gad about with them through a succession of chase sequences, luridly lit drug trips and, in one nod to quintessentially British farce, a naked dash in the countryside. Boyle and Dod Mantle jump- start this unwieldy vehicle with sheer formal brio, tricking it out with technique after technique after technique: 8mm flashbacks, projections, deranged Dutch angles, and, in what may be an early low for cinema in 2. Snapchat filters. It’s far from the director’s best- looking movie, but it may be his most visually eager. Beneath all this surface, the connections are loose, the stakes are low, and those who have simply been waiting 2.
Boyle teases us with the introductory clatter of Iggy Pop’s “Lust for Life” on the soundtrack. It’s particularly good to see a still- peroxided Miller, rarely used to his best advantage these days, reminding the camera of his lithe, splintery star quality. That we feel we haven’t seen enough of him lately lends real poignancy to his reteaming with Mc. Gregor, who has been far less of a stranger to us. Returning to his star- making role, a cruising Mc. Gregor looks palpably less hungry and more polished than his co- stars in a way that sets the film quite appropriately off- balance, as it ponders the diverging fates of these perennially muddled men.
As happens at any reunion with long- absent peers, however, a certain awkward silence can’t help but sink in. Running time: 1. 17 MIN. Production(U. K.) A Tri. Star Pictures, Film. DNA Films, Decibel Films, Cloud Eight production, in association with Creative Scotland.
Producers: Bernard Bellew, Danny Boyle, Christian Colson, Andrew Macdonald. Executive producers: Allon Reich, Irvine Welsh.
Crew. Director: Danny Boyle. Screenplay: John Hodge, adapted from the novels . Camera (color): Anthony Dod Mantle. Editor: Jon Harris. With. Ewan Mc. Gregor, Jonny Lee Miller, Robert Carlyle, Ewen Bremner, Anjela Nedyalkova, Kelly Macdonald, Shirley Handerson, James Cosmo.