A botched card game in London triggers four friends, thugs, weed-growers, hard gangsters, loan sharks and debt collectors to collide with each other in a series of unexpected events, all for the sake of weed, cash and two antique shotguns.
A wild, freeform, Rabelaisian trip through the darkest recesses of Edinburgh low-life, focusing on Mark Renton and his attempt to give up his heroin habit, and how the latter affects his relationship with family and friends: Sean Connery wannabe Sick Boy, dimbulb Spud, psycho Begbie, 14-year-old girlfriend Diane, and clean-cut athlete Tommy, who's never touched drugs but can't help being curious about them... Written by
Michael Brooke <email@example.com>
In the book, Mark Renton has an older brother named Billy who is a soldier in the British Army. In real life, Ewan McGregor has an older brother in the RAF. See more »
When Begbie throws the beer glass behind him over the the balcony, it has less than a quarter of beer still left in the glass. Then after the cut-scene with Tommy telling the truth about the Pool Table incident, the scene continues & is then immediately followed by another shot with an empty, & dry looking beer glass. It isn't even wet looking, let alone spilling the small amount of beer that was previously left in the glass when Begbie chucked it over. See more »
Mark "Rent-boy" Renton:
Choose Life. Choose a job. Choose a career. Choose a family. Choose a fucking big television, choose washing machines, cars, compact disc players and electrical tin openers. Choose good health, low cholesterol, and dental insurance. Choose fixed interest mortgage repayments. Choose a starter home. Choose your friends. Choose leisurewear and matching luggage. Choose a three-piece suit on hire purchase in a range of fucking fabrics. Choose DIY and wondering who the fuck ...
See more »
Profile pictures of the cast are shown during the beginning of the end credits. See more »
In the aftermath of _Pulp Fiction_, much of the filmmaking of the 1990s
thrived upon attempts to appear "edgy" within the constructs of independent
films, or merely to provide empty shock value cliches. And no film ever
close to the sheer cleverness of Tarantino's masterpiece.
_Trainspotting_, however, somehow manages to take the excesses of the
mid-90s and rise far, far above the cinematic cliches that it easily could
have become. A film that tackles any hot-button social issue can, and
usually does, simply become a didactic propaganda piece. Thankfully,
_Trainspotting_ is vastly more intelligent in its edginess and its
In order to appreciate _Trainspotting_ fully, the viewer must abandon any
preconceptions about what defines truly great cinema, because this film
defies convention at nearly every turn. And with the rapid pace of its
that's quite a bit of ground to cover.
Though a great deal of the picture's brilliance is derived from director
Danny Boyle's consistent rejection of typical cinematic techniques, the
satisfying and _best_ aspect of _Trainspotting_ is that Boyle creates a
that is neither pro-drug or anti-drug. Instead, he maintains a rare
objectivity throughout the film, depicting this fascinating array of
complex, beautifully acted characters with an honesty that it seldom
captured on film. And, given the life that each character lives, it's
incomprehensible that a director would refrain from influencing the
impressions in any way, yet that's exactly what Boyle does.
The dialogue-- or at least what portions of the brogue-drenched dialogue
American viewers will be able to comprehend-- is alternately hilarious,
and brutal. And Ewan McGregor, Jonny Lee Miller, and Robert Carlyle bring a
remarkable compassion and depth to their portrayals of characters that
have easily lapsed into cliche.
Despite its sheer brilliance, _Trainspotting_ is not a film that's easy to
watch. The viewer is bombarded with images that transcend visceral
discomfort in their horror-- this movie contains two of the most graphic,
horrifying scenes I've ever encountered. But, amazingly, none of these
elements is used merely for shock value. Though the viewer will be
by some of the things that happen onscreen-- the well-documented dive into
Scotland's most vile public toilet, for example-- these scenes all make
_perfect sense_ within the context of a masterfully told
In order to notice all of the subtlety that also exists in _Trainspotting_,
repeat viewings are necessary, primarily to reduce some of the most
shocks ever-so-slightly, though their effects are never lost entirely. Some
of the images will likely haunt even the most cynical, jaded viewer for
RATING: 10 out of 10. Never patronizing and completely unpretentious,
_Trainspotting_ is one of the most daring, unconventional films ever made.
It inspires a level of discomfort rivaled by very few movies, because, even
at its most graphic, Boyle never insults the viewer with mere shock
Brilliantly acted, directed, and written, with a truly rare objectivity
allows each viewer to interpret its story on his/her own
313 of 378 people found this review helpful.
Was this review helpful to you?