Better Late Then Never

Your blood may run cold, but you now find yourself pinioned to the story.

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

The film's masterful storytelling did its job. The message was clear. No need to overdo.

Only too often depictions of working class life is questionable at best but with Bypass, director Hopkins has made a perfectly crafted realistic drama that tackles the Shakesperiean theme of the sins of the father and shines a light on a version of Britain we rarely see film. While not everything works, the tension built up throughout is lost as the film comes to it's conclusion, the film's performances and beautifully gritty cinematography, which has the impressive ability to make the greyest areas of the north look attractive, creates a visually poetic depiction of living on the breadline that needs a wider release to demonstrate the power of independent cinema.

'A Britain within a Britain' - Bypass is a film that captures the life of those in a post-industrial world. Where Thatcher's legacy is the choice between going hungry or sleeping in a cold room.I found this film to be a breath of fresh air and a step down a path British cinema hasn't delved for far too long. Portrayals of the working class have become a rarity and austerity has become the norm. To find a film that isn't another form of escapism but has the bravery to point the camera at our own lives should be applauded. Third Films always reward those that delve deeper into their work, and Bypass is no exception, it is rife with metaphors and solemn themes that act as the undercurrent within the film, adding gravity to the choices Tim must make. The narrative picks up a swift pace, coupled with the striking cinematography of David Procter, I found myself being pulled through some intense scenes, especially when Tim's illness (a reflection of the world he lives in) begins to take hold. Each pause from the action only adds to the weight on Tim's shoulders which builds and builds to a climactic finish.George Mackay delivers a performance that makes it hard not to sympathise with Tim's plight, making it hit home that Bypass' setting isn't diegetic, but a place many of us live in.

This film is much more than a simple depiction of a criminal underworld. What it does very effectively (particularly George MacKay as Tim) is convey the emotions one might feel when in a position of weakness and faced with apparently insurmountable controlling forces, to be constantly "up against it", and the impact this has. The film is necessarily bleak, but is punctuated with occasional slightly more light-hearted moments, such as an affectionate exchange between Tim and his sister, and excitement such as the brilliantly filmed car chase. The shots of Tim, his girlfriend Lilly and their new-born baby towards the end of the film are hopeful and visually appealing. Overall I found this film engaging and insightful.

A Q&A session with the producer directly after the screening just reinforced my view of the movie. It was very self indulgent and, for me, missed the mark. The film techniques were very obvious and very contrived. The random, untied threads, that came and went without particular reason were nothing other than irritating. The story was a straightforward one and the subject matter interesting. However "Bypass" neither went anywhere worthwhile, nor offered hope or engagement. Rather a disappointing offering. The only thing that made it worthwhile was George MacKay's performance. He clearly inhabited the character; the pity was that for the viewer we didn't get to see inside his head or heart (or maybe he didn't have one).