Smartorhypo
Highly Overrated But Still Good
Rio Hayward
All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.
Roxie
The thing I enjoyed most about the film is the fact that it doesn't shy away from being a super-sized-cliche;
benpeyton
Following the death of her father (Sean Bean), Alice (Ruth Wilson) returns to the farm she was brought up on to claim her right to the tenancy. Her brother Joe (Mark Stanley) has been looking after the farm, along with their dad, and disputes her claim and wants the farm for himself. Through occasional flashbacks we learn of Alice's abuse at the hands of her father. Whilst it, thankfully, doesn't go into detail we're shown enough to understand Alice's 15-year absence from the farm and her awkward relationship with her brother as she attempts to repair the damage between them.Dark River is a terrific showcase for Ruth Wilson and Mark Stanley. Both look completely at home on a farm, whether it's sheering sheep or fixing gates, and their clashes over what's best for their land leads to some devastating consequences. Wilson produces a quite heart-breaking performance and skilfully conveys Alice's desire to prove herself and her need for some kind of closure from the traumatic events of her past.Holding his own against Wilson, Mark Stanley gives an excellent performance as Joe. His conflicted emotions at the return of his sister and the future of the farm make for intriguing viewing and in one uncomfortable scene his drunken rage is one of the most frightening rampages I've seen for a long time.Although he hardly has any dialogue or screen-time, Sean Bean's weathered face and gruff exterior create a thoroughly believable character, and his Northern presence is felt throughout the film and within the walls of the dilapidated farmhouse.The other leading character in Dark River is the unforgiving Yorkshire countryside. Beautifully filmed with some exquisite shots of green fields, hills and rolling landscapes director, Clio Barnard, makes full use of the surroundings and accompanying weather.Dark River is home to exceptional performances and a gritty, albeit slightly grim, Northern drama. Well worth a watch.
stephen_wild
Life on the moors is far bleaker than ever Heathcliffe and Cathy's trials and tribulations would have us believe as a doomed romance.It is presented here as a Tragedy wherein everyone is trapped mentally and physically in a hellish life into which they have been born with no escape possible.A thoughtful take on existentialism. And most definitely not for Americans or those that favour Hollywood cartoon acting and violence.
del hart
If it had a better script, a better telling of the story and a better director this could have been a great film, instead it is just a farming fighting siblings plod along, sometimes hard to understand the accents, and with a lot of films that don't actually tell you what going to happen, but you can sort of work it out, well with this there is no working out, the whole story line is flawed, and there is not enough dialogue to help you understand the full story.
Shame really Ruth Wilson does a fantastic job, if one did not know better she could have been that person, and not a film star, the rest of the cast did what they had to do with such a bad script...........Great scenery, mostly filmed i think in North Yorkshire.
maurice yacowar
A Yorkshire farm family lives out a curse as harsh and ineluctable as a Greek tragedy.
The life here is elemental. There are threats of fire and purges in rain. The living quarters are primitive, dark, basic. The men are rough-hewn and violent. The sex is brief, impersonal and urgent. The only modern device is the buzzing shearer. When the guard dog breaks its tether it straightaway mauls a sheep, what it was supposed to protect.
This is no Wonderland that this Alice ploughs through, stolid and capable. We see her shear and dip sheep efficiently as a man. For dinner she skins and guts a rabbit, but is drawn from its domestic cooking by her brother Joe's drunken aberrancy. She has to fight off his attempt to burn her Range Rover. As Alice, Ruth Wilson is most expressive in her harrowing silences.
The primeval sin is the father's habitual violation of the young Alice. He is all the more sinister for his gentle, tender mien. He didn't need Joe's violence.
In shame and anger, Alice spent 15 years working sheep farms wherever she could find them, before her father's death enabled her return. As Joe notes, she is still frightened anew every time she enters a room. Her father haunts her still.
And yet.... She has to return to the land. She draws on her father's promise to leave it to her, however poisoned it is by her experience. She applies for its tenancy. She fights Joe in an attempt to bring her new savvy to the operation. Ultimately she loses when he wins the tenancy on the promise to sell out to a developer.
The Joe we see is a drunken incompetent lout with his father's male authority. He is violent but has no sand. For he is as scarred by his father's sin as Alice is. He doesn't realize that until she spells it out: "Why didn't you stop him?" His rage and self-destruction are based in that guilt.
Joe gets his redemption at the end. He assumes the guilt for the murder Alice accidentally committed. Finally he protects her.
Both are strengthened by this cleansing, the confrontation of their curse. So the film closes on an idyllic shot of the two siblings, as teenagers, walking out of the shadowed barn down into their realm of shining fields. It's probably not a memory but a metaphor for the relationship they have now snatched away from their father's shadow.
The title has no literal representation in the film. It's antithetic to the waterfall in which Alice twice goes to cleanse herself. Another generation of teens repair there too, possibly without her curse to ablute. The dark river is the family's secret guilt that has rushed through their lives ever since.
