There’s more to life than friends. Like money, baby!
Three ordinary, middle-class friends (Christopher Eccleston, Kerry Fox, Ewan McGregor) all share a flat together and, generally, seem to be having a good time. However, they’re are in search for a flat-mate who they can hopefully sponge off of when the time comes around. They search through some – most of whom, they make fun of and tease for being lame – until they eventually settle on a person that they feel safe enough to have around in the house. This silent man (Keith Allen) eventually settles in and, wouldn’t you know it? Within a day of his residency, the dude’s already OD’ed on a bunch drugs, leaving behind his naked-body, his belongings, and most importantly, a briefcase full of cold hard cash. Seeing as how they don’t want to lose the money, the three pals decide to get rid of the man by dismembering him and burying what’s left of the body. Surely, they think this is a smart idea that will leave them alone with nobody else, but themselves and all of the money they get a chance to spend, right? Well, time begins to roll on and it becomes clear that the money’s starting to change these friends for the worst, and will continue to do so, until it’s probably too late.
“Can’t a man get a little privacy every once and awhile!”
It’s difficult to judge a director’s debut after having seen everything else they’ve had to bring to the table. Especially when that director’s Danny Boyle. Because obviously, in the past two decades or so, Boyle has turned out to be one of the most vibrant, exciting and interesting directors on this planet. Not only does he find new stories to work with, he also never seems to make the same movie twice. While most may seem like they’re going to be one thing, all of a sudden, about half-way through, Boyle himself decides that he’s bored and switches up genres.
This is the Danny Boyle us movie-fanatics have all come to know and love, which is why it’s a bit of a shame to look at his first film and realize that, well, he wasn’t always this great?
Sure, the Beach is a perfect example of Boyle-gone-wrong, but Shallow Grave still stands as his first film. So, with that said, yeah, it’s pretty messy. Like I mentioned before about Boyle liking to change genres up about half-way through his flicks, he does so here, but it’s not all that effective, nor is it really believable. That these three characters are as normal, plain and simple as you can get, the fact that they start to turn into wild, crazy and downright evil loonies, doesn’t make all that much sense. It would make sense if the movie ever made a mention of any of these character’s having something of a dark history or past, but because Boyle doesn’t seem all that interested in actually giving us a chance to know who these characters are, it just seems random and as if Boyle had a premise he needed to fulfill.
This isn’t to say that Boyle doesn’t make Shallow Grave worth watching, or better yet, fun, but after awhile, the style can run a bit deep. The camera, as expected from Boyle by now, zooms, runs, flies, and jumps all around scenes, and also gives plenty of beautiful moments that only the eyes of Boyle could have found. There’s a certain creepiness to the way the outside world is shown in such brooding darkness, that when we do eventually find ourselves in these people’s bright, shiny and lovely-looking apartment, it’s effective. It does drive home the point that Boyle wants to make with this story about how rich, fame and fortune can make anybody sell their souls and turn evil, but that falls on deaf-ears once all of the blood and gore comes around in the final-act.
Nobody in the cast is really to be blamed for that much, either.
Imagine those kids living on top of you.
It’s nice to see Eccleston, Fox and McGregor in such early, fresh-faced roles, but they do seem as if they’re trying to compensate for some of the script’s problems. Though these characters are mostly obnoxious, self-centered and unlikable, doesn’t mean that the movie itself has to be bad; there are loads of movies that focus in on/revolve around mean, nasty characters and yet, still work. However, the difference between these characters is that we never get to see anymore light shine through them than just what Boyle’s presenting. We have an idea of who these characters are early on, but eventually, the alliances start to change, revelations are made clear, and people start getting hurt. When this all begins to happen, too, there’s supposed to be a feeling of some sort of emotional or remorse for what’s about to happen, but because we don’t really get a chance to find out who it is that these characters actually are, makes all of the bloodshed feel empty.
And once again, this isn’t to say that Shallow Grave is a bad film by any chance; that it’s a movie made by the hands of Danny Boyle already puts it higher on the list of most other films. But, having seen what he’s been able to do with such solid flicks like Trainspotting, 28 Days Later, Slumdog Millionaire, Sunshine (or at least half of it, anyway), 127 Hours, Trance, and hell, even the Olympics’ opening-ceremony, it makes this movie pale a lot more in comparison. He was a first-time director trying to hone his craft, work his own sense of style and make sense of it, which definitely makes the movie an interesting one to watch, but by the same token, also makes you happy that Boyle eventually got his act together not too long after this.
Although, yeah, the Beach is a terrible movie.
That’s something I will always stand by.
Consensus: Seeing as how it was his directorial-debut, Shallow Grave remains an interesting, albeit mildly interesting picture in Danny Boyle’s filmography, although it’s clear that he had to brush up on his skills quite a bit.
6 / 10
“The more champagne, the merrier”, somebody has had to say.
Photos Courtesy of: Movpins