Let's be honest, half of audiences are probably here to see Aiden Gillen (Petyr Baelish) without his trademark medieval backstabbing. It's safe to say that he doesn't disappoint, almost the entire movie is exclusively about his character's spiraling life and his capable performance makes for a realistically brooding lead. Unfortunately, the film has agonizingly slow pace and it would be about one hour into the runtime before the thriller aspect actually plays out grippingly.

Carver (Aiden Gillen) is a father who recently lost his son. He becomes desensitizes with his surrounding, he is less invested on his job and his promiscuous side starts to show. It is about this time that he has an encounter with a gang of juvenile thugs. From trivial things, the confrontation escalates into much more harsher scuffles. The movie is a throughout reflection of the man's hidden angst and rage.

Details about his personal life, simple resentment of the more apparent tendency to drink, are appreciated. However, the excessive exposure also creates plodding in the plot, most of the subplots are too lengthy and not all of them pay off in significant way. His relationships with his best friend, ex-wife or new girls are overlapping. At times, it builds the character nicely but others the scenes might be tedious with the same rehearses theme and dialogues.

There is increasing tension later at the end. Aiden Gillen delivers a good acting as the deep occasionally sad character. This movie is more of a psychological display, it's a drama at heart, not typical crime investigation. While it has its merits, the narrative feels bland. It tries to build up into an impactful message or commentary about degeneration, but it does feel contrived as it uses unsubtle method.

Still has good acting from its lead to portray psychological deterioration, although the journey there is exhausting as the approach can be heavy-handed at times.

I don't know if the filmmaker intentionally wanted the audience not to be able to hear a word of this movie, or if everybody just whispers to each other in England, but I have never seen the movie were it was harder to hear the dialogue. Everybody in this film quietly mumbles or whispers to each other most of the time. I'm three quarters of the way through it, and I can honestly say I don't think I've understood a complete sentence of anything I've seen yet. Considering its very slow pacing, it adds up to a gigantic snoozefest occasionally punctuated by unexplained violence. it's very gritty, it seems almost like it might be an OK movie, if any of the dialogue was intelligible.

There's two things the Brits do better than anyone else . One is grief whoring where someone feels the need to think themselves better than anyone else by embarking on a very public display of beating themselves up and wailing because something terrible has happened such as the death of someone thy have never met say a Princess or a soldier in HM forces in the 'Stan . The other one is grief porn where film makers try to make the most disturbing and depressing film in the history of cinema and I can name you umpteen films off the top of my head , all of which are British that belong on the grief porn list . Add STILL to that list

!!!! SUGGESTIVE SPOILERS !!!!!

Written and directed by Simon Blake STILL is marketed as a tough gritty urban thriller but isn't really anything of the sort . It does allude to being a vigilante thriller of a man called Tom Carver striking back against a criminal gang but this subplot doesn't really make an appearance until about twenty minutes from the end . Before then we have to endure a storyline of a man experiencing loss , drinking too much and trying to get on with his life . It might have been better if Blake tried to make up his mind what type of film he was making here because everything is slightly confused gives out confused messages . Is it a brooding introspective drama featuring loss or a tough vigilante thriller ? It' both and neither and nothing it does is successful in anyway and is populated by unlikable distant often stupid characters

This is personified by the criminal gang in question . They follow Tom around and right away the audience know this is leading somewhere . Indeed it does lead to something , harassment followed by a hate campaign followed by nastiness but when the film reveals its final hand after Tom has kidnapped the ring leader you'll be asking yourself why they did all this in the first place ? There's no real motivation behind any of this except to push the story forward . To be fair you do understand Tom's motives but it's one of absolute haphazard thinking and you can see the flaws in his plan and I wonder if Blake is suggesting Tom should have let the law deal with but like so much else in the film this aspect is rather confused and unlikely

Oh and one thing I noticed on this page is the number of fake reviews no doubt written by people who worked on STILL where they have given the film ten out of ten and consider the film an unforgettable experience etc . Guys if you're going to plug your own film it's a good idea to set up an account well in advance and comment on a few other films . If you set up a account as soon as the movie has its limited release and it's the only film you comment on in your entire life then unfortunately it's a bit too obvious that you're a shill