“Glenrothan”: A Missed Opportunity at TIFF
The Toronto International Film Festival (TIFF) has long been a platform for showcasing innovative and compelling cinema. However, this year, the premiere of “Glenrothan,” directed by and starring Brian Cox, has left many attendees underwhelmed. While the film features a talented cast and picturesque Scottish landscapes, it ultimately falls short of delivering a gripping narrative, leaving viewers yearning for more engaging storytelling.
A Lackluster Script
At the heart of “Glenrothan” is a script penned by David Ashton that struggles to find its footing. The film revolves around Sandy Nairn, played by Cox, who is the CEO of a prestigious whiskey company in the idyllic village of Glenrothan. The story begins with Sandy dictating a letter to his estranged brother Donal, portrayed by Alan Cumming, urging him to return home as his health declines. This setup, while promising, quickly devolves into a series of predictable plot points and wooden dialogue that fail to engage the audience.
The film’s opening is accompanied by an incongruous, upbeat score that contrasts sharply with the somber themes of family estrangement and personal struggle. As Sandy reaches out to Donal, who has built a life as a nightclub owner in Chicago, the audience is left wondering why Donal has avoided his homeland for so long. The reasons for his estrangement are revealed through heavy-handed flashbacks that lack the emotional depth necessary to resonate with viewers.
Character Development and Performances
The character arcs in “Glenrothan” are disappointingly shallow. Donal’s reluctance to return home is attributed to a strained relationship with his father, who is depicted as overly demanding. However, this backstory fails to provide a compelling reason for Donal’s prolonged absence, making his behavior seem petulant rather than rooted in genuine trauma. The townspeople’s treatment of Donal as a pariah feels exaggerated and lacks nuance, further detracting from the film’s emotional impact.
Cumming’s performance shines only when he is singing, showcasing his natural charisma and talent. However, the script often forces him to externalize his feelings through clunky monologues rather than allowing his actions to convey his internal struggles. Alexandra Shipp, who plays Donal’s daughter Amy, is tasked with delivering exposition and scolding her father, but her character lacks depth and agency.
Cox, a seasoned actor known for his commanding presence, seems to be at odds with his character. Sandy is portrayed as a vaguely nice guy, devoid of the complexity that typically characterizes Cox’s roles. The film’s attempts at humor, such as Sandy’s use of the word “wastrel,” feel forced and fail to elicit genuine laughter.
Direction and Cinematography
As a director, Cox appears to struggle with the material. The film’s pacing is uneven, and the action often feels static. A scene in which Donal jams with a local band is marred by disjointed camera work, failing to capture the energy of the moment. Cinematographer Jaime Ackroyd does an admirable job of showcasing Scotland’s breathtaking landscapes, but the visuals lack the emotional resonance that could elevate the film.
The film’s 97-minute runtime feels drawn out, with conflicts that are resolved too neatly by the end. The lack of character development and emotional stakes leaves viewers feeling unsatisfied, as the narrative fails to explore the complexities of familial relationships.
A Comparison to Compelling Alternatives
In a year filled with captivating films, “Glenrothan” stands in stark contrast to more engaging offerings. For those seeking intrigue and drama, shows like “The Traitors,” featuring Alan Cumming, provide a far more thrilling experience. The juxtaposition of Cumming’s vibrant performances in reality television against the lackluster script of “Glenrothan” highlights the film’s shortcomings.
Conclusion
“Glenrothan” premiered at the 2025 Toronto International Film Festival, but its reception has been lukewarm at best. With a talented cast and a picturesque setting, the film had the potential to be a poignant exploration of family dynamics and personal redemption. However, a lackluster script, shallow character development, and uneven direction ultimately hinder its success. As audiences leave the theater, they are left with a sense of what could have been-a missed opportunity for a film that could have resonated deeply with viewers.
