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.
Steve Jobs takes us behind the scenes of the digital revolution, to paint a portrait of the man at its epicenter. The story unfolds backstage at three iconic product launches, ending in 1998 with the unveiling of the iMac.
First there was an opportunity......then there was a betrayal. Twenty years have gone by. Much has changed but just as much remains the same. Mark Renton (Ewan McGregor) returns to the only place he can ever call home. They are waiting for him: Spud (Ewen Bremner), Sick Boy (Jonny Lee Miller), and Begbie (Robert Carlyle). Other old friends are waiting too: sorrow, loss, joy, vengeance, hatred, friendship, love, longing, fear, regret, diamorphine, self-destruction and mortal danger, they are all lined up to welcome him, ready to join the dance.Written by
Sony Pictures Entertainment
Robert Carlyle kept away from his family in Glasgow while filming because he became so much like Begbie. See more »
When Renton meets Simon in his pub he is playing snooker on his own. In the first shot there are only red balls and a black ball . In the next shot a yellow ball appears on the table. See more »
So, are you the woman in the video?
My face is not seen.
Do you have any identifying marks? Tattoos on your buttocks?
On your perineum?
It's the bit of skin between your vagina and your bumhole.
So you're not vajazzled.
See more »
The initial final credits appear over modified scenes of tower blocks and other buildings being demolished. Once the cast credits appear, the background changes to amorphous, swirling, mainly black/ white/ grey shapes. See more »
Not as beautiful as its gleefully amoral predecessor.
A cinematic approximation of getting older has its own footage as proof. Aging in art can only be a heightened reflection. It must dramatize the abstraction of looking at old photos. In this case, they're trapped within this Black Mirror-hell of being from T1 and projecting a reality where that universe never went away. Sorry!
The sameiness in fact is what makes this truly horrifyingly depressing and I wished they pitied them to leave them in the 90s. For instance, being a sequel all we have to go on is the old footage, then all their lives show an unhealthy obsession with that heist gone wrong, as if Trainspotting despite its aimlessness was just as important to them as it was to the 90s.
Of course life can very much trap you in the past. Its style: Danny Boyle's groundbreaking audio visual kaleidoscope fragmented sort of cinema, even subdued with age, is fun, though limited via point and shoot, digital, and his aging sensibility: the dutch angle at his age would nearly be like seniors breakdancing.
We wait for where a style meet its time. It's like rare and far between. So the 90s joyously gave us a bit of expressionism on film that is long gone (although Hackers still beat him at his own game as the ultimate irresponsible MTV music video take on cinema). Then somewhere in the mid 00s the rewards poured in. Part of it is his sheer economy of point and shoot where the art goes in its edit and conception, creates giant amounts of results for less money.
Who said study economics, not art. Go to law school, not film school was my favorite.
It's all a depressing sort of gimmick here, like a glorified Transpotting bonus feature on the disc. Yet neither does it feel wrong, while being a feat in its authenticity how it arranged the same cast and tones all these years later. And a director who time was kind to, getting better and more powerful in his industry, so tossed them a coin within his body of work; he stopped by to pay these fond old friends a visit.
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