Luke Treadaway

Tonight You

Recently added to Netflix Instant, Tonight You’re Mine is director David Mackenzie’s other film from 2011 that’s not the one that involves Ewan McGregor and Eva Green getting down while the world’s population steadily begins to lose each of their five senses. Originally released under the title You Instead, the decidedly lo-fi Tonight You’re Mine was filmed on location over five days at Scotland’s massive T in the Park Festival, sort of a UK version of Coachella (but one that comes off as decidedly more clean and decent). An eighty-minute-long charmer, the film was barely seen when it finally got released in the United States and it made less than six thousand dollars during its very brief and very limited release in May of 2012. Basically, if you didn’t happen to catch it back then, you’re far from the only one. Short on narrative and long on charm, the film mixes scripted scenes and improvised adventures to deliver one hell of a sweet little love story (set to music, naturally). The film centers on Adam, the pretty boy lead singer of the dorky-hip The Make, and Morello, the tough-as-nails leader of punkish girl group The Dirty Pinks (yes, the meaning of their name is addressed swiftly and amusingly). Morello and her girls don’t suffer fools, so we when they spot Adam and his bandmate Tyko filming a spot for a local music show in a tiny car that’s apparently run out of gas, they can’t help but poke fun at […]

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Tonight You

David Mackenzie’s Tonight You’re Mine offers an adequate travelogue depiction of Scotland’s T in the Park music festival, with a minuscule, tired story mixed in. Shot amid the real event, the movie’s best and most noteworthy moments are the montages, wide shots and other scenic depictions of the throngs cavorting around the various stages, tents and camping areas. The rest of it is flagrantly ridiculous junk, about feuding rockers Adam (Luke Treadaway) and Morello (Natalia Tena), who are handcuffed together by a black musician bent on teaching the white protagonists a lesson, fulfilling all the requirements of what Spike Lee calls the “magical Negro.”

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Attack the Block has of course already screened in America, at SXSW, and FSR already have a review live, thanks to Brian Salisbury and let’s be honest, no matter what I write here, I’m not likely to meet the mastery of that particular article. But then, I wouldn’t want to, and I honestly feel as strongly about the excellent British film as Brian does, so I thought I’d use this opportunity to review the film slightly differently, in order that my article can stand as more of a companion piece to Brian’s. And there’s the also the small matter of me being British as well, which will no doubt mean what I’m about to write will be full of patriotic bluster and lashings of jingoistic pride, what what.

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published: 12.23.2014
B+
published: 12.22.2014
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published: 12.19.2014
A-


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