Kattiera Nana I think this is a new genre that they're all sort of working their way through it and haven't got all the kinks worked out yet but it's a genre that works for me.

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

Bumpy Chip It’s not bad or unwatchable but despite the amplitude of the spectacle, the end result is underwhelming.

Philippa All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

Lvka An utterly dark and depressing movie: which is also probably why I've enjoyed it so much... Its theme easily reminds us of "Requiem For A Dream" or "Trainspotting" (another British masterpiece); its heavy, discomforting atmosphere of deep sadness and unrecoverable loss, as well as its long, silent frames of bleak, grief-stricken faces, marked by unspeakable pain and suffering, are reminiscent of "Another Day"; and its overall "dragged out" or "self indulgent" artistic approach is evocative of "Elephant", or Bela Tarr's "Satantango". This film is nothing less than a raw and torturous foray into the very heart of darkness and despair; its main subject, as set forth in the very first lines of the movie, is nothing else than the excruciating agony of existence, from whose unbearable hollowness or emptiness the characters seek shelter in drugs, lust, or isolation. From this perspective alone, an obvious link can be drawn to Louis Malle's "The Fire Within", a masterpiece of the 1960's French New Wave cinema, or to its modern-day Nordic 'remake', "Oslo, August 31". Then again, it is obviously not a film for everyone, and neither are those mentioned above, to whom this movie is more or less comparable... After all, not everybody enjoys his or her cup of coffee dark, with NO sugar...

tom van de Bospoort The most sombre and grey film i have ever seen. Scandinavian films are blue, this British film is very grey and is like the British version of Requiem for a dream.Life is not such a dingy grey, it is like a pinkish glow, on grey.The heartache of drug taking and brain sprouting fungus.You need to have a lead lined stomach to fully enjoy this, but if you like films like the Machinist and Requiem for a dream, then you should like this film.The horrors of death and drug taking in a sombre area of the British countryside and towns.

Dan Bullock Although I understand what the writer/director is trying to do with this debut, I just felt massively underwhelmed by the project. It also feels too lengthy and dragged out. If the stories were told a little faster and with some stronger actors, I'm sure I would have been pulled into their dark, stormy worlds.A good start grabbed me attention wise and I wanted to know where the characters were going but there is only so many long shots of an every-day scenario you can take before it becomes something akin to looking at a photograph intently for 10 minutes when you've seen the same photo 5-times before.The old couple were particularly poignant but the other characters didn't capture the mindset excessively or vividly. An interesting debut for someone who must have had good backing and I think it could have been snappier and shorter and still retained its gritty teeth.Direction can, indeed, make a film as much as good acting can overhaul dodgy directing. However, 'Better Things' doesn't live up its positive title. I understand the irony/play on that title but even in the depths of reality and creeping inside the corpse of drug abuse, I wanted a lot, lot more to happen and a lot more to get me thinking about.

beatmcmanus-1 ...Bruno Dumont. I've read a lot of reviews lauding this supposedly great example of British art-house cinema. Even Sight and Sound made it film of the month. But the facts are simple, everything about it says the filmmaker is in thrall to the work of Bruno Dumont, particularly La Vie de Jesus and L'Humanite. And why not, they are magnificent films.Unfortunately it only goes to highlight the miserable state of British art-house and British film-making in general that this is held up as a fine example of it when all it does is rip off the style and downbeat content of Dumont's great works. For the unforgiving Northern France landscape of Dumont substitute the Cotswolds and you've got it.In fact its worth pointing out that the similarities in the prolonged static widescreen shots and the dull grey cinematography, so perfectly mimic L'Humanite especially that one would almost believe the filmmaker had had the audacity to give the colourist a copy of that film and then have him match the shots one by one.But no filmmaker could be that cynical or unoriginal. Could they? 2 stars for the perfectly copied photography.