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‘Trespass Against Us’

‘HELL HATH NO fury like a locked-up super-goat,’ says Colby Cutler, the surprisingly sinister and infinitely quotable patriarch of Trespass Against Us. It makes some sense in context, but it’s still vague, and the same might be said of the film.

In the opening sequence, Chad, a chain-smoking Gloucestershire traveller and small-time crook, is driving through a field after a dog and a rabbit. His son Tyson sits on his lap and steers the car. The pair and the others in the overfilled hatchback are coursing, which is when a dog chases a hare. If the hare fails to outrun the dog, well, to quote another film involving a hard-to-understand traveller community, ‘the rabbit gets f***ed’.


Chad and his family are members of a small outlaw community who live on a tumbledown caravan site in Gloucestershire. This band of misfits also includes the rabid Gordon (Sean Harris), Samson (Kingsley Ben-Adir) and Norman (Tony Way), thought these characters are barely developed. The group are shambolic, ignorant and ridiculous, but somehow capable of pulling off grand heists. 


This first five minutes of first-time director Adam Smith’s film tell you a good deal about where the film is headed. Chad, an illiterate thief and getaway driver, wants to teach his son how to get by in the world, but is constantly undermined by his father, the small-time crime lord Colby. Like the dog, local police officer P. C. Lovage, played by Rory Kinnear, is in relentless pursuit of Chad, to the extent that the pair are on first-name terms. The animal metaphors in the film really are heavy-handed.

Chad and his family are members of a small outlaw community who live on a tumbledown caravan site in Gloucestershire. This band of misfits also includes the rabid Gordon (Sean Harris), Samson (Kingsley Ben-Adir) and Norman (Tony Way), thought these characters are barely developed. The group are shambolic, ignorant and ridiculous, but somehow capable of pulling off grand heists. This is in a large part thanks to Chad, who’s a gifted and icy calm driver in the mould of the central character in Drive, although he will stop mid-chase for a pack of cigarettes. He knows no other life than the criminal one, but he wants something else for wife Kelly (Lyndsey Marshal) and children Tyson (Georgie Smith) and Mini (Kacie Anderson). But his main problem is that he can’t stand up to his father, a flat-earth- and intelligent design-believer who rattles off colourful idioms and sits in a big red leather swivel-chair like a Viking king on his throne. Colby thinks up the criminal schemes that risk Chad’s freedom and threatens him when he hints at wanting a different life, and all the while grows in influence over his grandson.

Trespass Against Us should belong to the same genre as London Boulevard and Layer Cake, though the music probably isn’t as good as that of the former and everything else is definitely less stylish than the latter. Chad wants to leave the criminal world behind but of course it pulls him back in, as the criminal world tends to do, even if, in this case, ‘criminal world’ seems hyperbolic. But Trespass Against Us can’t really decide what it’s about. On some level it is about giving up the criminal life, but on another, it’s about family. Tonally it’s also confused. It seems director Adam Smith couldn’t decide between the small-scale realism of, say, Shane Meadows and a grander crime drama. The score reflects this identity problem. The music which plays during the early scenes at the caravan site evokes rural idyllic bliss, to the degree that you start to half-expect to see a couple of hobbits wandering past, pipe and pint of ale in hand. But during genuinely gripping and inventive chase sequences, thumping electronic tones supply the accompaniment.


The best thing about the film is the two central performances. Gleeson and Fassbender have a genuine on-screen chemistry that loads their verbal jousting and physical intimacy with emotion. That the film doesn’t offer a more satisfactory resolution to their conflict is a crying shame. 


The best thing about the film is the two central performances. Gleeson and Fassbender have a genuine on-screen chemistry that loads their verbal jousting and physical intimacy with emotion. That the film doesn’t offer a more satisfactory resolution to their conflict is a crying shame. Rory Kinnear gives a solid supporting performance as a cop who’s not so much sinister as petty: during his confrontations with Chad, he acts like a schoolteacher, barely containing his glee at having caught a particularly difficult schoolboy red-handed. Trespass Against Us is funny, too, much of that humour coming from Colby’s primitive musings and the result of combining traveller slang with a broad Gloucestershire dialect, yah dinny.

The film has some charm but it’s confused and, ultimately, unsatisfying.

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