Peter Mullan is Joseph, a man battling his inner demons, and Olivia Colman is Hannah, a woman he meets by chance in this character driven drama from Britain. Mullan and Colman are magnificent, especially when on screen together.

Joseph is a rage filled alcoholic who is mad at the world and living alone after the death of his wife years earlier. He meets Hannah, a woman running a consignment shop; she prays for him even though he doesn't believe in God. Her husband is an abusive controlling monster. This is not a happily after story and it feels very realistic, portraying everyday working class people struggling with loneliness, regret and doubt. Mullan and Colman radiate genuine human emotion, never looking like Hollywood,s usual pretty faces. This is worthwhile just for the two leads who are riveting.

Just be aware that this film will not leave you feeling good about life in general.

Joseph (Peter Mullan) is a volatile violent drunk. After a violent outburst, he takes shelter in a Christian second-hand store run by Hannah (Olivia Colman). She tries to help him but he verbally picks her apart. She's a drunk suffering under her abusive husband James (Eddie Marsan). Joseph befriends young Samuel who is suffering under her mother's boyfriend and his aggressive pitbull.

Peter Mullan and Olivia Colman are perfect in portraying these heavily damaged people. These are award worthy performances. The story is brutal although it's a little scattered. There is limited hope and questionable redemption. It's an unrelenting dark brutal tale.

A miserable little movie full of grubby, unappealing characters going about their violent, depressing little lives. This marks the directing debut of actor Paddy Considine (DEAD MAN'S SHOES) and he must be a right barrel of laughs if you get to know him.

Admittedly, the film is well made, decently shot throughout and boasting a couple of fine central performances. Peter Mullan (RED RIDING HOOD trilogy) is exceptional as the booze-hardened widower whose life seems to be falling apart around his ears, while Olivia Colman brings the film's emotional heart as the put-upon spouse. The exceptionally sinister Eddie Marsan shows up as a really nasty piece of work.

The one thing I don't like about these modern, grimly realistic sorts of film is the way they deliberately tinker with the audience's expectations. TYRANNOSAUR spends the whole running time setting up a confrontation that never arises, which is okay as a twist in itself, but it doesn't replace that confrontation with much of interest otherwise so you feel a bit let down by the ending.