
The Cult Film of the 90's

How can you not like a movie that features a shot of a dead baby crawling along a ceiling and rotating its head 180 degrees? If that doesn't scream 'fun' for the entire family, I don't know what does. Ha.
Anyhoo, the movies setting and subject matter were somewhat grim to put it mildly, but that didn't stop Trainspotting from becoming one of the top movies of the nineties, and having just watched it this morning I can safely state that it holds up well to this day. While I haven't read the Irvine Welsh novel on which this movie is based, I have read some of his other work (Porno, Filth), and the movie is a perfect distillation of his storytelling style-rapid-fire, filled with bawdy set pieces, characters living on the edge of acceptable society, and lots and lots of swear words.
It's also the kind of violent, genre-defying, and pop culture reference-laden movie, complete with way-cool soundtrack, that emerged with such force in the nineties and spawned so many imitations in this decade. For my money at least, this movie is a much more entertaining and convincing look at the world of heroin users than the interesting, but annoyingly depressing and pedantic, Requiem for a Dream, which came out a few years later to almost hyperbolic praise.
Trainspotting is a blunt, unapologetic look a life most of us can scarcely imagine, delivered with a combination of hilarity and horror that effortlessly intertwines these two extremes. It doesn't shrink from depicting the damage caused by heroin addiction, but it doesn't downplay all the fun of it either, which is what lends it so much of its gritty believability.
Trainspotting also marked the arrival on the international scene of director Danny Boyle, whose manic visual style would later serve him well on the slightly-less-brilliant 28 Days Later. Perhaps most impressively, it manages to contain one of my all-time top ten movie lines ("Who needs reasons when you've got heroin?"), my favorite nickname ever, fictional or otherwise ("We called him Mother Superior on account of the length of his habit"-brilliant), and more "Oh my God, did I just see that?" images than you'll find in fifty Hollywood blockbusters. In Boyle's hands the crazy imagery practically flies off the screen, be it human waste flying from a sheet across a room, the movie's protagonist climbing into Scotland's filthiest toilet to retrieve something he lost, or the hallucinatory, nightmarish haze of a cold-turkey withdrawal. The unrestrained depictions of sex, nudity, violence, drug use, and bodily functions make this a movie not to be viewed by the squeamish, but they perfectly suit its unflinching examination of the sordid goings-on in one country's drug-laden urban culture.
Review ID: 10000000004058549

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