In 2007, Paddy Considine won awards for his short film Dog Altogether, a study into the effect of rage upon human behaviour. The film centres around an aging widower, Joseph, whose life is consumed by his anger towards the world around him. In 2011, Considine brings us Tyrannosaur, an expanded version of the same story, a hard-hitting drama that exceeds all expectations and proves Considine to be an extremely gifted director, as well as an established British actor.

By the horrific opening scene, it is clear that Considine’s debut will be memorable, to say the least. Joseph, in a drunken rage, viciously kicks his dog to death in the street, stunning the audience from the outset. As he dejectedly carries the dying animal home, it is evident that the ensuing film will not be an easy watch. Peter Mullan (Trainspotting) gives a phenomenal performance as Joseph; despite his unforgivable actions, the empathy aroused towards him is incredible, as we see a man consumed both by rage and then by remorse, concepts that will dominate the film.

With nowhere left to turn, Joseph stumbles into a charity shop, run by Christian Samaritan Hannah (played superbly by Olivia Colman, known primarily for her role in Channel 4’s Peep Show). Despite Joseph’s reluctance, Hannah seems determined to help him. At first her character appears unrealistically tolerant; yet we soon learn that this is merely a cover for a much darker side of her life. Colman’s portrayal of Hannah is heartbreaking; we watch as Hannah leaves the shelter of the charity shop and goes home to her abusive husband, James (Eddie Marsan).

It is tempting to compare Tyrannosaur with a number of other recent British films, in particular the works of Mike Leigh, whose films often address similar themes. Indeed, despite this being his first full-length film, Considine has easily placed himself upon the level of such renowned directors. His film offers a painfully honest insight into human behaviour, and the ways in which people choose to deal with their problems. Whilst the issues explored in Tyrannosaur are familiar – domestic abuse, loneliness, age – Considine avoids any possible clichés. The film is languid, the dialogue often stilted and difficult; yet the relationships are rendered beautifully, and Considine achieves an astounding sense of realism.

In a recent Q&A at the Cambridge Film Festival, Considine talked openly about his personal affiliation with the film. Newly diagnosed with Asperger’s, he spoke about his own struggle dealing with difficult emotions. He described his need to create a “protective shell”, admitting that the smallest trigger could affect him, leading to thoughts of violence and anger which he has learn to manage.  It is clear to see, then, where he got his inspiration for Joseph. As Considine discusses, Joseph is not a mindlessly angry man; he is a man struggling with emotions he is incapable of dealing with, the repercussions of which are often destructive. The complexities of the character are touchingly personal.

However, a large portion of the praise must ultimately go to Olivia Colman, whose portrayal of a woman destroyed by domestic violence is distressingly convincing. Hannah’s commitment to, and later reliance upon, Joseph is moving. Until now, Colman has largely been viewed as a comedy actress, having had little opportunity to show off her acting talent; with this role she demonstrates her versatility, and establishes herself as one of the most talented British actresses of her generation.

Eddie Marsan, too, is as compelling as ever in this role which he plays with such ease; in the past Marsan has played similarly creepy characters in The Disappearance of Alice Creed (2009) and Mike Leigh’s Happy-Go-Lucky (2008). His portrayal of Hannah’s sadistic husband James is chilling.

The only criticism with the film is the name; although its relevance is eventually clarified, the title in no way advertises the profundity of the film, and thus sadly a number of people seem to be unaware as to what it is actually about. Tyrannosaur is unique in a way in which I would have thought impossible, given the prevalence of similar films within this genre. Considine is clearly a director to watch, and a terrific attribute to the British film industry.