Twenty years after a heroin binge sent their lives in spirals, the gang of Edinburgh return to the silver screen, in ‘Trainspotting 2′. After betraying his friends and running off with (almost) all the money from a scam, Mark Renton (Ewan McGregor) is back in Edinburgh. It is his first time back since the events that split him, Spud (Ewen Bremmer) and Simon (Jonny Lee Miller) apart. He looks up Spud and Simon but their lives are hardly much better than when he last saw them. Spud, after getting his life together, has seen it all unravel, to the point that he is suicidal. Simon is running his father’s loss-making pub, in between bouts of blackmail. Meanwhile, the fourth person in their caper of 20 years’ ago, the psychotically intense Begbie (Robert Carlyle), is in jail. He has no intention of staying incarcerated and revenge is foremost on his mind. Mark quickly finds himself unraveling in the same circular direction that nearly ended his life two decades prior. ‘Trainspotting 2’ is directed by Danny Boyle, and is rated R for drug use, language throughout, strong sexual content, graphic nudity and some violence.
Danny Boyle became notorious after crafting the original ‘Trainspotting’ in 1996, a movie that unapologetically depicted the live fast lifestyles of drug use and the consequences that came with them. Over twenty years later, it’s interesting to see an artistic imitation of life, as just like the protagonist of Mark Renton, Boyle too returns to the spot of his youth to dabble once again in the waters that would inspire him to grow as one of boldest artistic expressionists of our time. ‘Trainspotting 2’ might not prosper to a complete success in the same vain that its predecessor did, but there’s much to indulge in the nostalgic slice of pie that Boyle conjures up for his audience. It was certainly interesting enough to catch up with these characters with so much time removed from one film to the other, and the continuing script by John Hodge gels perfectly to bridge the gap of rust, emulating a story that feels very in-sync with that of the first movie. A difficult thing to do once so much time has passed not only in real time, but also in screen time between character to character.
From Hodge and Boyle’s standpoint, this film packs several impactful messages surrounding the importance of friendship and how the memories that we make as youths shape us to be the people we grow up to be. In regards to this film, it’s clear that so much can happen after two decades, but we can’t change the moral integrity of the heart beating inside, and it’s in that thought process where so very little has changed over time for our four main characters. Where the first film centered around addictions and selfish indulgences, ‘Trainspotting 2’ focuses more on the beauty of life and living with eyes wide open for the very first time. Sure, there is drug use in this film as well, but these feel like characters who are thinking clearly for the first time, and it’s more than satisfying enough to see them prosper, despite the ghosts of Edinburgh past coming back to haunt them occasionally. The difference in age and lifestyles go far beyond that of what’s depicted in story, but also that in pacing of this film versus the 96 original. At nearly two hours, this film feels sauntering when compared to the upbeat pacing and flow of the first movie, channeling the aging process accordingly of the 40-something cast that now deal with maturity. I found this angle in storytelling to be beneficial, even if there is about twenty minutes or so of the movie that flounders in purpose, and would’ve wisely been better left on the cutting room floor.
With Boyle being a magician behind the lens, we are once again treated to a visual fiesta of experimental lighting, editing, and overall camera work that integrates soundly into the picture. The scene-to-scene transitions are beautifully decorated here, characterizing the landscapes not only in Amsterdam to Edinburgh, but also in the coincidences in repetition that Mark realizes from his own past. On the latter, the touches and insertions of child actors being edited into what’s happening on-screen tugs at the heartstrings of anyone watching, highlighting the innocence in every one of us who once had a dream of greatness when we were younger. This film embraces nostalgia with open arms, so it’s beneficial to the creativity and relaying of internal feelings to the audience to include these youthful images, a feature that only someone like Boyle could master, with such similar touches in films like ‘127 Hours’ and ’28 Days Later’.
The character involvement was kind of hit or miss for me, treading a delicate line of material that could only go so far for so much cast. The redeeming friendship of Renton and Sick Boy, as well as Begbie’s escape from prison is a focal point of face value for the movie, but aspects like Spud’s new lease on life, as well as Diane’s one or two throwaway scenes felt very shoe-horned in for the storytelling that was taken place with the trio of main protagonists in the movie. Their performances all consistently reach their designated marks, particularly in that of McGregor who once again balances on a tight rope of personal wants that hinder his growth for the needs in his life, but there are times in this movie where it felt like I was watching two different films that were smashed together, both of which fighting desperately to get out. What I mean by that is it feels like Diane’s scenes in particular should be amounting to more, but they just never happen. I felt no one-on-one confrontation between her and Mark is a dropping of the ball for the ways some of the questions were left unanswered from the previous events, leaving a noticeable gap for the supporting cast of both movies.
My biggest gripe with ‘Trainspotting 2’ is that it feels like a commercial for the first movie, without ever selling its own chapter of merit for fans who seek the continuance. There is certainly nothing wrong with reflecting on events that happen in a previous movie, but this film goes to the well far too much, signaling a flimsy offering of original material that ‘Trainspotting 2’ has for itself. It feels like every time that this movie might be heading in search of its own identity, only to be told once again how great the first movie is. These reflections certainly coincide with that of the past playing such a prominent role in this movie, but after the third or fourth time, you can almost set your watch by when it will happen again, expressing a layer of predictability that these films should never have.
‘Trainspotting 2’ is a welcome and appreciative sequel that could do little better about having a twenty year lay-off that would normally doom a sequel with this kind of waiting power. Boyle and Hodge reflect artistically the kind of harsh realities that our pasts play on who we are shaping ourselves to be, and that disillusionment of age that forces us to earn our wisdom. Boyle’s return to Edinburgh is a good film that could be great if it had more faith in its current story, but the dabble into the past ironically enough is the undoing of a movie that centers around it.