Dotsthavesp I wanted to but couldn't!

Verity Robins Great movie. Not sure what people expected but I found it highly entertaining.

Portia Hilton Blistering performances.

Matylda Swan It is a whirlwind of delight --- attractive actors, stunning couture, spectacular sets and outrageous parties.

Smallclone100 I love Andrea Arnold. I'm not sure she has put a foot wrong in her career so far, although I've not seen 'Wuthering Heinghts'. Red Road is right up there with 'American Honey' for me as her best work. Kate Dicke was exceptional as the CCTV Camera operator who decides to go vigilante to get closure. There is one scene that is so moving I nearly lost it. How Arnold interweaves moments of extreme brutality and harshness with such powerful tenderness is amazing to watch. She's one of the best modern British film-makers. I'm off to seek out part 2 of the 'Advance Party' trilogy.

CinemaPat "Red Road" is an emotionally taut drama centered around a CCTV operator in Glasgow. Jackie, played by Kate Dickie lives a simple life monitoring the CCTV's and coordinating with local police. One day, she notices someone that she recognizes on one of the screens. Tony Curran plays Clyde whom is the star of Jackie's new obsession. What follows is nearly an hour and a half of her following this man growing more and more close to him. It is not until over an hour that we learn bits and pieces of why she has engaged in this cat and mouse game. The way the film was shot begs us to be patient as the answers unfold, which is a great aspect of this movie though the final outcome is a let down.As I said before the movie takes place in Glasgow. Now, I am normally pretty good at understanding British and Irish dialects; however, I was having a terrible time understanding most of what was said in this movie. The Scottish accent is impossible to understand at times. I wish it would have been subtitled as maybe I could have gotten more involved in the dialog. For a film reliant so heavily on the script, it was a difficult watch and took a lot away from the impact of the actions on screen.The plot was an interesting one, but it inevitably fails. I suppose it was a piece more on forgiveness than redemption but the style in which they filmed it was not conducive to learning the lesson they were trying to portray. This film has a really gritty feel to it and was shot beautifully. Cinematographer Robbie Ryan did an amazing job building a very tense atmosphere. His use of shadows and colors really draws the audience into the set pieces. I found myself on pins and needles expecting something incredibly moving or emotional. Sadly, I never quite got there."Red Road" has gotten a lot of great reviews on IMDb (6.8/10) and Rotten Tomatoes (88%). I think the reason for this was the cinematography and the acting. Both were outstanding. Katie Dickie and Tony Curran have great chemistry on screen and both seemed to give their all to this project. It's a shame that the film ended the way it did because these two actors could have really pushed the envelope had their been a different avenue to go in.I really only found one thing that stood out as far as direction goes. That is the way Arnold builds the tension. She only allows small bits of information to come through progressing the story at any given moment. A decision that worked well with the films photography. I was reminded of Michael Haneke who is one of my most favorite directors. This was Andrea Arnold's first full length feature film, had it not been for the actors and cinematography I don't think this movie would have been such a success.So, is this a thriller? A drama? Or, a mixture of both? For me, the only thing that could put this in the "thriller" genre is the slow pace and the tension. Other than that, this is a drama. Many reviews say as a thriller this works, but for me it just falls flat. I feel like the director should have stuck to one genre. In my opinion the movie would have been much more powerful had it kept the plot and was shot as a drama or changed the plot and shot as a thriller. But opinions are like assholes, we all have one, watch it for yourself and let me know what you think!

rddj05 There's a gritty honesty to this film that you don't see very often. Though the script is very spare, and not a lot of information is given to the audience, there is just enough to keep you engaged and wondering what will happen next. And by the end, it all adds up to a satisfying conclusion. It is not exactly a suspense film that will have you on the edge of your seat throughout, but more an interesting study of one woman's obsession and barely controlled grief. You continue to wonder why she is doing what she is doing. There is nary a false moment and not one that will make you groan due to an improbable plot turn, which is the problem with so many thrillers, and films in general these days.Kate Dickie gives an excellent, low-key performance as a private security guard that watches over a panel of monitors linked to cameras placed all throughout Glasgow, Scotland. One day, she sees someone from her past who she did not expect to see, and the story is off and running, or at least trotting. Very well done and well- executed, focusing on a working-class setting we don't see handled well very often.

ozjeppe Mesmerizing account of security surveillance camera operator in Glasgow who one day, on one of her work monitors, spots a person who stirs up her personal past in unpredictably painful ways... and puts her in consequences that take the viewers on one of the best and roughest rides of the '00s! A small British miracle of a movie, thematically difficult and disturbing as it takes its time using minimal, low-key elements of social realism to carve out a story of edge-of-your-seat suspenseful thriller qualities and emotions of huge human drama that knocked the air out of me and left a big lump in my throat. Next to that, unforgettable, two-dimensional characterizations unfold just as brilliantly by simply showing and symbolizing (instead of overly telling) the action. This is film-making that is both masterful, sexually brave and movingly tragic as well as hopeful, with achingly good performances. For buffs, the stylistics with the surveillance camera topic view can almost unavoidably be discussed along with similar inputs from Antonioni's "Blow-up", Hitchcock's "Rear window" and Coppola's "The conversation" - as well with the gigantic ethical questions it raises, that are both timeless and contemporary: Can atonement be made, even with unforgivable crimes and long-time grief? Are Jackie's actions at all justified? What reverberations on privacy and authority responsibility does around-the-clock societal surveillance really have? Don't miss this one!9 out of 10 from Ozjeppe