It's no definitive masterpiece but it's damn close.

Expected more

Pretty good movie overall. First half was nothing special but it got better as it went along.

It's easily one of the freshest, sharpest and most enjoyable films of this year.

Alice Bell (Ruth Wilson) is a lonely laborer at a sheep farm. After getting news of her father's death, she returns to her family's rundown sheep farm despite being haunted by a family secret. Her bitter brother Joe (Mark Stanley) is angry at her 15 years absence and her attempt to revive the farm. He has plans to sell the stock and abandon the tenancy.This is dark, bleak, brooding, and not that exceptional. It's all grindingly dark and brooding. The dialogue is sparse. There isn't much surprising. Wilson is able to portray this darkness. It would be nice to have more. It's all one note and oppressively depressing.

Following the death of her father (Sean Bean), Alice (Ruth Wilson) returns to the farm she was brought up on to claim her right to the tenancy. Her brother Joe (Mark Stanley) has been looking after the farm, along with their dad, and disputes her claim and wants the farm for himself. Through occasional flashbacks we learn of Alice's abuse at the hands of her father. Whilst it, thankfully, doesn't go into detail we're shown enough to understand Alice's 15-year absence from the farm and her awkward relationship with her brother as she attempts to repair the damage between them.Dark River is a terrific showcase for Ruth Wilson and Mark Stanley. Both look completely at home on a farm, whether it's sheering sheep or fixing gates, and their clashes over what's best for their land leads to some devastating consequences. Wilson produces a quite heart-breaking performance and skilfully conveys Alice's desire to prove herself and her need for some kind of closure from the traumatic events of her past.Holding his own against Wilson, Mark Stanley gives an excellent performance as Joe. His conflicted emotions at the return of his sister and the future of the farm make for intriguing viewing and in one uncomfortable scene his drunken rage is one of the most frightening rampages I've seen for a long time.Although he hardly has any dialogue or screen-time, Sean Bean's weathered face and gruff exterior create a thoroughly believable character, and his Northern presence is felt throughout the film and within the walls of the dilapidated farmhouse.The other leading character in Dark River is the unforgiving Yorkshire countryside. Beautifully filmed with some exquisite shots of green fields, hills and rolling landscapes director, Clio Barnard, makes full use of the surroundings and accompanying weather.Dark River is home to exceptional performances and a gritty, albeit slightly grim, Northern drama. Well worth a watch.

It's a sad story of family trauma and an attempt to go home many years later. The photography is superb. The acting is powerful. It works very well as a film overall. I don't want to say any more at the risk of spoiling it for you if you haven't yet seen it but it is well worth watching.As for the negative reviews, I suggest you ignore them. This was never intended to be a super-hero action movie. It's a drama and it does what it sets out to do very well.

A Yorkshire farm family lives out a curse as harsh and ineluctable as a Greek tragedy. The life here is elemental. There are threats of fire and purges in rain. The living quarters are primitive, dark, basic. The men are rough-hewn and violent. The sex is brief, impersonal and urgent. The only modern device is the buzzing shearer. When the guard dog breaks its tether it straightaway mauls a sheep, what it was supposed to protect. This is no Wonderland that this Alice ploughs through, stolid and capable. We see her shear and dip sheep efficiently as a man. For dinner she skins and guts a rabbit, but is drawn from its domestic cooking by her brother Joe's drunken aberrancy. She has to fight off his attempt to burn her Range Rover. As Alice, Ruth Wilson is most expressive in her harrowing silences. The primeval sin is the father's habitual violation of the young Alice. He is all the more sinister for his gentle, tender mien. He didn't need Joe's violence. In shame and anger, Alice spent 15 years working sheep farms wherever she could find them, before her father's death enabled her return. As Joe notes, she is still frightened anew every time she enters a room. Her father haunts her still. And yet.... She has to return to the land. She draws on her father's promise to leave it to her, however poisoned it is by her experience. She applies for its tenancy. She fights Joe in an attempt to bring her new savvy to the operation. Ultimately she loses when he wins the tenancy on the promise to sell out to a developer. The Joe we see is a drunken incompetent lout with his father's male authority. He is violent but has no sand. For he is as scarred by his father's sin as Alice is. He doesn't realize that until she spells it out: "Why didn't you stop him?" His rage and self-destruction are based in that guilt. Joe gets his redemption at the end. He assumes the guilt for the murder Alice accidentally committed. Finally he protects her. Both are strengthened by this cleansing, the confrontation of their curse. So the film closes on an idyllic shot of the two siblings, as teenagers, walking out of the shadowed barn down into their realm of shining fields. It's probably not a memory but a metaphor for the relationship they have now snatched away from their father's shadow. The title has no literal representation in the film. It's antithetic to the waterfall in which Alice twice goes to cleanse herself. Another generation of teens repair there too, possibly without her curse to ablute. The dark river is the family's secret guilt that has rushed through their lives ever since.