T2 Trainspotting

Movie Information

The Story: A crew of formerly drug-addled miscreants reunites after two decades of bad blood to take stock of their misspent lives. The Lowdown: A fitting follow-up to an unquestionable classic that may not please the most ardent purists but makes a moving statement on the struggles of maturity and the pitfalls of nostalgia.
Score:

Genre: Drama
Director: Danny Boyle
Starring: Ewan McGregor, Jonny Lee Miller, Robert Carlyle, Ewen Bremner, Anjela Nedyalkova, Kelly Macdonald, Shirley Henderson, Irvine Welsh
Rated: R

landscape-1483457548-begbie-renton-t2-trainspotting

There can be something particularly grating about listening to middle-age men pining for the glory days of youth, and Danny Boyle has made a film about that very phenomenon. I’m pleased to say, however, that the resultant picture is not as tedious as I had feared — even if it’s never as transcendent as it could have been.

t2-trainspotting-dom-t2-gh-03032_rgb

Those similarly afraid that the long-awaited (in some corners, dreaded) sequel to Boyle’s 1996 breakout picture Trainspotting would fail to live up to the frenetic verve of the original film may well find their concerns justified, but that precise sense of failure is the entire point of T2. Boyle’s trip down memory lane is characterized less by nostalgia than regret, and he manages to toe the tonal line between wistful and maudlin with a mastery that belies the 20 years of experience he’s gained since he first adapted Irvine Welsh’s seminal work of pseudo-gothic junkie fiction.

170214_MOV_Trainspotting2_still.jpg.CROP.promo-xlarge2

In a sense, the first Trainspotting film was a monster movie — and so too is T2, only this time the monster isn’t heroin-fueled nihilism, but malign longevity. The narrative revisits Mark Renton (Ewan McGregor), now living clean and firmly ensconced in middle age and the middle class, until a coronary incident on a treadmill leads him to question the purpose of the remaining 30 years of life his doctors have promised him. This existential crisis prompts a return to Edinburgh and the friends he burned in the climactic heroin deal that punctuated this story’s predecessor. Ewen Bremner, Johnny Lee Miller and Robert Carlyle reprise their roles as Spud, Sick Boy (now Simon) and Begbie, respectively — and the ensemble is thoroughly unashamed in their display of aging gracelessly. McGregor returns to the role that made him a star, and Carlyle returns to the career-defining turn that made him nearly uncastable as anything other than a bloviating psychopath, but their takes on Renton and Begbie are almost unrecognizable when contrasted with computer-inserted flashbacks from the previous film.

T2 TRAINSPOTTING

As Renton and the gang fall back into old patterns, so too does Boyle. Dutch angles, forced-perspective trick shots and a throbbing pop music score dominate the proceedings, but like the story’s protagonists, what once seemed like innovative techniques are now a bit long in the tooth. Much of the film is directorially focused on examining the effect 20 years of gentrification has had on Edinburgh, the city’s hard-earned veneer of grime having been largely effaced by tourism, immigration and economic progress that leaves the film’s central characters as little more than anachronistic landmarks resisting change in a world that has passed them by. Boyle and screenwriter John Hodge double down on the dark comedy that distinguished the original Trainspotting, their current film replete with carefully choreographed cameos (Kelly Macdonald and author Welsh reprise their roles from the first film for one scene each) punctuated by visual callbacks and black-hearted sight gags that evoke the prior film without digressing into redundancy.

T2-Trainspotting-trailer-2

Ever the consummate stylist, Boyle’s visual sensibilities have developed a range that was absent from his early work, and while not all of the aesthetic risks he takes in T2 work, it’s an undeniably interesting film to look at. The seismic shift in cinematic technology that the intervening years have witnessed affords Boyle directorial options that were entirely unavailable in 1996 and wouldn’t have been remotely affordable had they existed. In many ways, T2 functions aesthetically as a self-reflexive meditation on its own narrative, the gutter-punk inventiveness of the first film dulled by two decades of success and self-indulgence — the ideas aren’t necessarily new, but the budget certainly is.

T2-Trainspotting-4

There’s something comforting about revisiting a classic, and Boyle plays to his audience’s entrenched affinity for Trainspotting’s well-loved characters and storylines — but he’s after something more here. T2 recognizes the indelible cultural mark left by its predecessor but raises the question of excessive attachment to the past. In returning to both the narrative and stylistic cues that made him a household name, Boyle is offering a meta-commentary on the veneration of sacred cows — and while his film refuses to draw even oblique conclusions, the implications are clear: The good old days weren’t always that good, and growth requires an acceptance of that fact. Rated R for drug use, language throughout, strong sexual content, graphic nudity and some violence. Now Playing at Fine Arts Theatre.

SHARE

Before you comment

The comments section is here to provide a platform for civil dialogue on the issues we face together as a local community. Xpress is committed to offering this platform for all voices, but when the tone of the discussion gets nasty or strays off topic, we believe many people choose not to participate. Xpress editors are determined to moderate comments to ensure a constructive interchange is maintained. All comments judged not to be in keeping with the spirit of civil discourse will be removed and repeat violators will be banned. See here for our terms of service. Thank you for being part of this effort to promote respectful discussion.

3 thoughts on “T2 Trainspotting

  1. Big Al

    The original was filmed in 1996, but the “choose life” meme from the 1980s anti-drug campaign and Mark and Simon’s focus on 1970s football history seem to imply that the events of the first film took place much earlier. Mark states he is 46 in 2016, which makes him a year younger than me, but I am damned if I can remember anything about sports before 1980 we were 11 and 10 respectively. Of course, I was never a big sports fan.

    I found it amusing that Mark and Simon scammed the EU out of an entrepreneurial grant, again supposedly in 2016, which would likely have been after Brexit. Of course the screenplay and production were probably in the can before the Brexit vote, but the timing is still a curiosity to say the least. I wonder if such grants still being offered now that the UK has given two fingers to the EU?

    I also found the many eastern European immigrants in Edinburg amusing, especially the Sardinian greeters at the airport. I went to Scotland in 2014 and everyone I met behind a cash register or serving food had an eastern European accent.

  2. NFB

    What is the status of the Carolina Cinemas and art/indie movies? Are the new owners continuing with them?

    • Big Al

      Sort of.

      Check out their website: http://www.cinemark.com/…/the-carolina-cinemark-asheville

      This week’s showings include “Get Out” (which started as a kinda indy before it became a pop hit) and “Gifted” which is also mostly an indy. For more fringe stuff like “Kedi” and “Land of Mine” (both excellent) you will need to rely on the Grail and FAT.

Leave a Reply

To leave a reply you may Login with your Mountain Xpress account, connect socially or enter your name and e-mail. Your e-mail address will not be published. All fields are required.