Shadows on the Wall

Dead Shot

dir-scr Tom Guard, Charles Guard
prd Chris Coen, Brian Coffey, Rebecca Brown, Thorsten Schumacher
with Aml Ameen, Colin Morgan, Sophia Brown, Felicity Jones, Mark Strong, Tom Vaughan-Lawlor, Mairead Tyers, Dara Devaney, Will Keen, Jack McMullen, Caolan Byrne, Stephen McMillan
release UK 12.May.23
23/UK 1h29

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Murky but artfully gritty, this British thriller has an unusually introspective tone. Shot 1970s-style by filmmakers Tom and Charles Guard, the film has a steely authenticity. Set amid the violence of the Troubles, the film remains centred closely on the individuals, which allows for brief moments of lightness within the hideous cycle of violence. It's bleak and fatalistic, but is skilfully made to create a strong atmosphere.

In 1975 Northern Ireland, Irish operative Michael (Morgan) is ambushed and sees his pregnant wife (Tyers) shot by SAS officer Tempest (Ameen). Haunted by his actions, Tempest is given a secret new assignment by ruthless boss Holland (Strong) to hunt down IRA terrorists in London. Meanwhile, Michael's cohorts fake his death and send him into hiding, working with Irish operatives in London. Once there, he learns from photographer Catherine (Jones) that Tempest is also hiding out in London, so he plots his revenge. And Tempest is shocked to discover that Michael is alive and nearby.

With danger lurking everywhere, the film vividly captures the uncertainty of the period, with its sudden bombings, shootouts and tit-for-tat clandestine operations. Vicious thugs lead both the police and terrorists, forcing their underlings to do their bidding, often while threatening their loved ones. And this is compounded by endemic racial bigotry that is strongly felt by Tempest and his wary girlfriend Ruth (Brown). Imagery is deliberately drab, with muted colours and edgy camerawork that adds a heart-pounding intensity to action scenes that are staged without the usual cinematic excess.

In keeping with the vintage filmmaking approach, performances are growly and whispery, nicely adding tension to the often blunt-edged dialog. The main characters aren't particularly sympathetic, and the actors play them unflinchingly while offering glimpses into their buried humanity. Ameen is solid as a man pushed into a corner, while Morgan has a superb shaggy energy as the equally flailing Michael. Both of them ooze desperation, which makes it tricky to choose sides. Brown and Jones are strong as tough women pulled into the action against their will.

Most viewers will have preconceived opinions about these people. But the filmmakers intriguingly never make much political commentary about the Troubles. Neither Michael nor Tempest grapples with the morality of his actions, even if Michael tries to prevent a few atrocities. Instead, this is a film about two men on a tragic quest for vengeance. And the film's strongest point is that the wave of devastation resulting from this charge to violence is ultimately meaningless.

themes, language, violence 9.May.23

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