In this review, we explore Brian Cox’s directorial debut, ‘Glenrothan,’ which premiered at the Toronto International Film Festival. Despite high expectations, the film falls short in delivering a compelling narrative and engaging performances.
‘Glenrothan’ Review: A Missed Opportunity in Brian Cox’s Directorial Debut
For those wanting to experience the Scottish Highlands, I suggest watching any season of “The Traitors” on Peacock instead of the much-anticipated Toronto International Film Festival premiere, “Glenrothan.” One offers intrigue, murder, stunning cinematography, and fabulous costumes, while the other presents a flat script reminiscent of a Hallmark movie. Unfortunately, it’s the latter that receives a glitzy premiere in Canada.
A Talented Cast Wasted
This isn’t merely a plea for a major cinematic institution to host a “Traitors” marathon; it’s also a critique of “Glenrothan,” which squanders a talented cast, including Brian Cox, who also directs. The anticipation surrounding Cox’s directorial debut is palpable, yet he fails to infuse the film with the intensity of his best performances. One might expect a project with more edge from a man famous for his fierce portrayal in “Succession,” but instead, “Glenrothan” offers a superficial family drama that lacks genuine tension.
The Plot Unfolds
Cox portrays Sandy Nairn, the CEO of a prestigious whiskey company in the idyllic village of Glenrothan, nestled among rolling green hills. The film opens with Sandy dictating a letter to his estranged brother Donal (Alan Cumming), urging him to return home as his health declines. Donal, a nightclub owner in Chicago with a passion for blues, has resisted returning to his homeland for reasons that only become somewhat clear throughout the film. His reluctance is interrupted when his venue burns down, a convenient plot device.
Donal eventually agrees to visit Sandy, accompanied by his daughter Amy (Alexandra Shipp) and her young child. Despite years of estrangement, the close relationship between Sandy and Amy raises questions about the narrative’s coherence.
Weak Script and Direction
The script by David Ashton and Jeff Murphy often resorts to lazy storytelling, forcing characters together without a believable rationale. The dialogue feels wooden, with actors struggling through awkward metaphors. Donal’s backstory is revealed through heavy-handed flashbacks, portraying a strained relationship with his father but lacking any real trauma. This makes his character appear petulant rather than deeply affected.
All principal actors seem adrift, with Shipp delivering clunky exposition and Cumming only coming alive during musical moments. Cox’s apparent disinterest in his role is perplexing, as he chose this material. Sandy is portrayed as a vaguely nice character, but the reasons for Donal’s resentment remain unclear. Cox does manage to deliver a memorable line, but it’s overshadowed by an overall lack of engagement.
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Cinematography and Direction
As a director, Cox appears uncertain, with poorly placed camera angles during key scenes. Cinematographer Jaime Ackroyd captures Scotland’s beauty, yet the frames lack character, resembling a tourism commercial. By the end of the 97-minute runtime, any family issues are resolved too neatly, lacking the depth found in an episode of “The Traitors.”
“Glenrothan” premiered at the 2025 Toronto International Film Festival and is currently seeking U.S. distribution.
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