Perry Kate Very very predictable, including the post credit scene !!!

Exoticalot People are voting emotionally.

Actuakers One of my all time favorites.

Hayden Kane There is, somehow, an interesting story here, as well as some good acting. There are also some good scenes

Python Hyena Red Road (2006): Dir: Andrea Arnold / Cast: Katie Dickie, Tony Curran, Martin Compston, Nathalie Press, Paul Higgins: Intriguing drama thriller about occurrence as Katie Dickie oversees activity on Red Road through surveillance cameras. One particular guy named Clyde catches her attention when she realizes that he was in jail and now out free. This leads her to stalking and eventually becoming involved in his world. Director Andrea Arnold has fun with the surveillance theme but it contains very little music. That can strike against the film in terms of presenting mood. Arnold treats the material as a sort of movie within a movie as Dickie becomes engrossed within a lifestyle she only observes from the outskirts. Why she is stalking this individual is not quite clear, nor are we given much to go on in terms of her fascination. Dickie does well as this obsessed woman who leaves her comfort zone as a surveillance voyeur on the outskirts of paranoia. Tony Curran plays Clyde who is known for his relations with women and lives with another bickering young couple in his apartment. He is the object of her obsession but his lifestyle is hardly pure. There are two colourful supporting roles played by Martin Compston and Nathalie Press. While the film clearly could have been better, it is purely surveillance as we watch and wait for answers. Score: 8 / 10

Sindre Kaspersen English screenwriter and director Andrea Arnold's feature film debut which she wrote, is based on characters developed by Danish screenwriter and director Lone Scherfig and Danish screenwriter Anders Thomas Jensen. It premiered In competition at the 59th Cannes International Film Festival in 2006, was screened in the Contemporary World Cinema section at the 31st Toronto International Film Festival in 2006, was shot on location in Glasgow, Scotland and is a United Kingdom production which was produced by producer Carrie Comerford. It tells the story about a woman named Jackie Morrison who lives in an apartment in Maryhill, Glasgow in Scotland. One day whilst Jackie is in the city eye control room where she works, she notices the face of a man on one of the monitors whom she recognizes.Distinctly and subtly directed by UK filmmaker Andrea Arnold, this quietly paced fictional tale which is narrated mostly from the main character's point of view, draws a moving and humane portrayal of a Scottish woman who after witnessing a man named Clyde Henderson whom she has not seen in six years begins to observe him closely. While notable for it's distinct and atmospheric milieu depictions, fine cinematography by Irish cinematographer Robbie Ryan, low-keyed production design by production designer Helen Scott and use of sound and colors, this character-driven and narrative-driven story about a person whom instigated by her sense of justice and search for closure becomes increasingly involved in the life of a person whom she has very little knowledge of, depicts an internal study of character.This heartrending, psychological, understated and observational drama from the mid-2000s which is set in a city in Scotland and where a wife and mother's viewpoint is gradually changed and something is awakened in her as she learns more about the person she is examining, is impelled and reinforced by it's narrative structure, substantial character development, subtle continuity, use of music, significant realism, incisive examination of its central themes and the commendable and naturalistic acting performances by Scottish actress Kate Dickie, Scottish actor Tony Curran, Scottish actor Martin Compston and English actress Natalie Press. A lyrical, unsentimental and liberating directorial debut which gained, among numerous other awards, the Special Jury Prize at the 59th Cannes Film Festival in 2006.

Neddy Merrill Scotland sure ain't Hollywood. Nothing in Andrea Arnold's Scotland breaks up the unremitting bleakness, the overcast coldness hovers above huge decaying housing blocks inhabited by criminals and miscreants of every sort. Kate Dickie's "Jackie" spends her days watching the ugliness and criminality from her job as a video patrolwoman. This exceedingly slow-moving movie drives forward glacially based on Jackie's rather peculiar effort at exacting revenge against the ex-con that accidentally took out her husband and daughter. Along the way to punishing the transgression she loses her way when she finds her feeling getting jumbled with curiosity and lust. If you can slog through the nearly 2 hour run time and its unleavened bleakness, the story eventually becomes compelling although Jackie nor any of the other characters do. However, making it to the interesting bits requires a willful effort to hold attention on the film as it doesn't do that for you. In short, if you seek to have a bad time at the movies, this is a good film for you.

Shoekstra Jackie works at a city surveillance service in Glasgow. One night she see on one of the monitors a face from her past, a man just released from prison. This causes a major disruption in her bleak and hollow life. We know it has to do with something ugly and painful that happened long ago, and we fear for Jackie, as she starts taking more and more risks in an effort to get closer to that person.I saw this movie at my local videostore. A few months ago I saw and liked Fish Tank, the latest feature film by director Andrea Arnold, so I decided to give it a go. I was not disappointed. The acting was strong, and the story-telling gripping and thought-provoking.I find a similar feel in both movies, stories with female protagonists who cope with hurt and glum outlooks. Jackie is a much more extreme character than the girl in Fish Tank, but I'm pleased to find the same warmth and compassion underneath that hard shell.The world is such a scary place these days that cynicism and hopelessness feel like the easy way out in too many stories. It is refreshing to find narratives were hope is allowed to have the last word.