There is something inherently comforting about a homecoming story, but in Glenrothan, that comfort occasionally tips over into “I’ve seen this all before.” Glenrothan hails the directorial debut of legendary actor Brian Cox, the film is a deeply personal love letter to Scotland that oscillates between breathtaking visual beauty and a script that plays it far too safe. There is a massively stacked cast on screen here who do give it all they can with the little offered to them in the script. However it is not enough to save this from feeling like a painfully generic debut that fails to stick the landing.
If there is one reason to buy a ticket, it is the caliber of talent on screen. Alan Cumming stars as Donal, who returns to his Highland roots after 35 years in America to reunite with his estranged brother, Sandy (played by Cox himself). After family events force the two to reunite, fuelled on by his daughter Amy (Alexandra Shipp) and granddaughter Sasha (Alexandra Wilkie) they must put their differences aside to save their family distillery and address Sandy’s health concerns. Along for the ride is the Distillery manager and Donal’s old flame Jess (Shirley Henderson)
The chemistry between Cumming and Cox is palpable; they bring a lifetime of unspoken resentment and weary affection to every frame. Along with the ever-reliable Shirley Henderson, the cast does the absolute best with the material they are given. They find depth in moments where the dialogue feels thin, turning what could have been a standard family spat into something that feels genuinely lived-in and complex. Unfortunately the story doesn’t allow us to explore anything below the surface level and the simple option of a traditional family stew recipe and a horribly cooked breakfast and everything is ok again.
Visually, the film is a triumph. It was entirely shot on location in the Scottish Highlands, the cinematography captures the mist-covered lochs and rugged peaks with such clarity that you’ll find yourself checking flight prices before the credits roll. Whether it is the golden hue of the fictional Glen Nairn distillery or the sweeping vistas of Gartmore and the Isle of Uist, Glenrothan is easily one of the most beautiful films of the year and the picture perfect postcard for a Highland fling.
Unfortunately, the story doesn’t quite match the grandeur of its setting. The plot is loosely revolving around family secrets, whiskey legacies, and “the one that got away” is painfully generic. Every emotional beat is broadcast ten minutes before it happens, and the “surprises” are anything but. There is a particularly cringe moment at the end of the film that should be a celebration, instead it just falls completely flat.
While the film succeeds as a poignant character study, its adherence to a predictable formula holds it back from being a true classic. Glenrothan is a warm, well-acted, and visually stunning dramedy, but it ultimately leaves you wishing there was a bit more bite in the blend.
Glenrothan is now showing in cinemas.
