There was only one way a Scottish family drama directed by Brian Cox could unfold – and Glenrothan follows that path. Described as a “love letter to Scotland,” Cox’s directorial debut, written by David Ashton and Jeff Murphy, is full of heart but ultimately lacks substance. Starring Cox, Alan Cumming, Alexandra Shipp and Shirley Henderson, the film is centred on family and fractured relationships, tracing the brothers’ bond across the years. But it never quite digs as deep as it promises.
After 35 years apart, Donal, now living in the United States with his daughter, receives a letter from his brother, Sandy, back in Glenrothan, Scotland, asking him to return home to visit him. But things turned sour the last time they were together; when tensions with their father erupted into a violent altercation at their mother’s funeral, Donal was instructed never to return.
Fleeing from home, Donal found freedom in America, building the life he wanted. He was free from the pressures of his upbringing and the confines of a small village, opening a blues bar and starting a family. But time doesn’t heal everything, and after receiving a letter from his brother claiming his health is worsening, he returns home in the hope of reconciling with Sandy before it’s too late.
With an all-star cast, the performances do much of the heavy lifting. Cumming captures the complicated emotions of returning to a place once called home with real nuance, whilst Cox virtually plays himself as a gruff, guarded older man whose love for his family sits just beneath the surface. Whilst there are flashes of genuine emotional weight, they’re often rushed, never quite landing with the impact they should. As a film that leans heavily on these moments, it’s unfortunate that their lack of depth ultimately leaves you wanting more.
Henderson shines as Jess, steering the brothers’ story forward, while Shipp brings the American charm to Amy, Donal’s daughter and the catalyst for his return home. Both deliver strong, understated performances that add real weight to the family dynamic and deserve credit for how much they elevate the material they’re given.
Ultimately, Glenrothan has all the ingredients of a compelling family drama, but the script doesn’t always give its ideas room to breathe. The themes of grief and forgiveness are there with a real promise, but feel underdeveloped, with some conflicts wrapping up too neatly. There’s a strong emotional base to the film, but it doesn’t always dig deep enough to provoke any actual emotion, meaning some of the key moments don’t land as strongly as they should. The score also doesn’t always work in its favour, relying on repetitive, loud motifs that become more distracting than supportive, rather than elevating the emotion on screen.
Though credit must be given where credit is due, his directorial debut makes it clear Cox has a real passion for both the story and its setting. The sweeping landscapes of the Scottish Highlands and the warmth of the small village give the film a strong sense of heart, with that affection, helping to elevate it throughout. While the pacing can feel uneven at times, the sincerity in its tone shines through, particularly when it leans into its strong themes of identity and belonging.
Whilst it may carry a lot of similarities to a Hallmark-style drama, Glenrothan is anchored by the cast’s clear love for the story and its setting, which remains its real core. Its ending ties things together in a satisfying yet slightly predictable way, and while it may not be a particularly complex piece, it ultimately makes for a wholesome and easy watch.
★★ 1/2
In cinemas April 17th / Brian Cox, Alan Cumming, Shirley Henderson, Alexandra Shipp / Dir: Brian Cox / Lionsgate Films UK / 12A
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