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Boring

If the ambition is to provide two hours of instantly forgettable, popcorn-munching escapism, it succeeds.

It’s fine. It's literally the definition of a fine movie. You’ve seen it before, you know every beat and outcome before the characters even do. Only question is how much escapism you’re looking for.

This movie feels like it was made purely to piss off people who want good shows

A magnificent film that deals with grief in a very black yet warm manner.Three brothers and a sister are torn apart upon the death of their mother. In the lead up to her funeral they all express their loss in different ways, from the recklessly violent to the automated responses of dealing with the ritual of the funeral itself.Peppered with wonderful moments of Glaswegian humour - the graveside scene, though obviously contrived, is a moment of pure comic genius - this film is both deeply touching and funny.If you like your humour dark, see it now.

orphans is truly one of the best films i have seen in a long time. written and directed by peter mullan (who is already an amazing actor--miss julie, my name is joe), orphans takes us through the lives of four siblings who have to cope with the death of their mother. gary lewis (billy elliot) is the eldest, but most childish, son who cannot let go of mummy; stephen mccole (rushmore) is the juvenile delinquent of the family; rosemarie stevenson is their wheelchair-bound sister; and douglas henshall (twice upon a yesterday) is the adult of the lot who has to keep the family together. we see how each of the siblings deals with her death--whether it's by singing a song in a kareoke bar or getting into a brawl with another person, the siblings act on their emotions and often get into trouble.the movie was a good mix of comedy (watch for the priceless scene with stephen mccole spying on a neighbour), drama, and action. douglas henshall was amazing, as he has to deal with his siblings as well as his own ex-wife and son while he is coping with mum's death. his character is so real and believeable. there are also many sweet scenes in the film, such as the scene in the beginning where they all remember being comforted by their mum during a storm. this movie kept me interested with its great script and acting, and everyone in it was excellent. stephen mccole especially did a great job--before orphans i knew his as just the mean scottish kid in rushmore. he represented the frustration of youth and also offered a lot of comic relief to the plot too. this is not your typical film, and i think it follows in the tradition of good scottish filmmaking. definitely check out orphans if you are looking for a dark comedy that is well-written with a cast of very talented actors. and it does come with subtitles, if you aren't good with scottish accents.

I remember sitting in the Virgin Cinema in Aberdeen back in 1999 watching this film with about 12 other people, whilst in the auditoria next door hundreds were lapping up the populist Phantom Menace and Matrix.How 'Trainspotting' became so famous while 'Orphans' has practically been ignored I simply cannot understand. This film features real characters with which you can truly identify, plus some moments of deliciously black humour. Perhaps the best summary of the emotions brought to the surface in this superb film I could give is from a song I remember being in the charts a few years ago about life being a bitter-sweet symphony. Both the good and bad sides of human nature are exposed in this film in a direct manner that might not be to the taste of all.I unreservedly recommend this under rated and little known masterpiece.

Accusations that this film fails on account of its shifts between comedy and tragedy highlight a misunderstanding of Mullan's purpose. Accusations that the characters are not likeable should be tempered by the fact that these people, from a close Catholic family, have just been orphaned and are at their wits' end. The performances in this film are stunning, particularly Rosemarie Stevenson's. Why should this film conform to the ever-infuriating set categories of comedy, tragedy, thriller etc.? Its strength is that you don't know where it is going to lead you next, and it consistently challenges your emotions. The film works as an excellent depiction of the various ways in which people deal with grief, and in this respect it is a unique cinematic experience. On occasions it falters into the realms of far-fetched (although the air of gothic fantasy lends something to its atmosphere at times) but it generally stands head and shoulders above other British films of recent years. At the very least, it dares to be different. It is not a mainstream film and it was never supposed to be entirely accessible. Those who are willing to bring both heart and mind to the cinema will appreciate it enormously.