If they phoned the police it wouldn't make for much of a movie, so I don't think I'm spoiling much when I say that they go for the former option. Shallow Grave is an excellent little movie, made on a modest budget, with a cast of (at the time) relative unknowns. The film almost single-handedly saved the British film industry which, at the time of the films release was moving from one turgid costume drama to the next. Boyle and Hodge came along and made a film that was not only British, but was something that the public actually wanted to see. Without this film a certain Mr Madonna would doubtless have found it a lot more difficult to get his breakthrough film made.

Danny Boyle cut his directing teeth on UK cop shows like ‘Inspector Morse’. Now, whilst I never watch UK made TV I do remember seeing a Boyle episode of the afore mentioned show. It was quite unlike any other UK television. The show was very stylishly shot, which was something that was unheard of for UK TV of the time. Heck, I still refuse to watch British TV because it looks like crap. But, way back then Boyle had shown the kind of visual flair that would come to the fore with his feature film debut.

Shallow Grave has the feel of a stage play since Boyle sets almost all the action in the flat, which allows him to really turn up the pressure. He shoots the flat beautifully giving it an incredibly claustrophobic feel that heaps on the tension, especially in the final third of the movie. Lighting is used to great effect in the downstairs area of the flat creating moody shadows that again add to the closed in feel. Great lighting again in the attic as shards of light cut into the dank gloom, lighting up David’s face.

Other great visual touches include a dizzying opening montage of the streets of Edinburgh, a montage of the three flatmates interviewing various candidates, a fast paced, kinetic traditional Scottish dance scene and the body disposal scenes. Whilst the premise of the movie might suggest that it is overly gory, this it not really the case. Boyle instead chooses to shoot the disposal scenes in low light (at one point a blood red filter is used) letting sound effects and the actors reactions do the work rather than expensive special effects.

That said, the film does have its share of violence, most notably in the movie’s only sub-plot. We see two thugs (one played by the brilliant Peter Mullan), presumably trying to track Hugo and his cash, as they interrogate various people about his whereabouts. This sub-plot runs alongside the main plot, we know the two are going to meet at some point and this again adds tension to the film. The flatmates are enjoying the money, but we know that the real price is just around the corner.

When we first meet the three lead characters they come across as a pretty unappealing bunch and when the money comes into play this doesn’t really change. David takes the body disposal hard, retreating into a shell and becoming increasingly paranoid. Juliet becomes more and more devious, playing the game as it were. She uses her sexuality to turn the two male flatmates against each other so that she can keep all the cash for herself.

Alex is the one we end up relating to the most. Whilst there’s no argument that he is an arrogant cocky man, he ends up being played for a fool by both Juliet and David. This was Ewan McGregor’s breakthrough performance in the UK and he really shows the talent that has since seen him become one of the biggest movie stars on the planet. McGregor plays the cocky youngster very well and he provides the bulk of the films laughs.

Kerry Fox and Christopher Eccleston do well with their roles, in particular Eccleston. His portrayal of David as he slips further and further from reality is incredibly chilling. The transformation that David goes through is very impressive. Fox doesn’t come over quite so well and it’s not too surprising that she has gone on from this film to find the least success.

Running right through the film is a streak of devilish black comedy that gives the film a bit of a Hitchcockian feel. John Hodge’s script is sharp, witty and clever giving each character some incredibly memorable dialogue. Even the small parts benefit from Hodge’s writing; take for example the two detectives assigned to the case. Both are small parts, but they are memorable thanks to the excellent dialogue that fleshes the characters out beyond their limited screen time. There’s a nice twist in the tale that comes pretty much out of nowhere and gives the film a happy ending, in a twisted and perverse way.