remake, he remains best known outside his native England for playing the chief antagonist, Tommy Lee Royce, in three seasons of. That murderous character in the riveting Yorkshire crime series was utterly terrifying, worlds away from the tenderness and aching vulnerability of Norton’s moving performance in, this modest but accomplished third feature again deals with death and dignity. But it represents a step up in terms of its subtlety and controlled observational style.
Some adoption candidates seem almost ideal on the surface, yet they never feel quite right to John for reasons he seldom articulates to Shona , the compassionate young agency trainee who accompanies him on interviews. Others are patently unsuitable, notably a persnickety couple who prompt one of John’s rare outbursts of frustration with the process. He sees people from across the class spectrum, each meet-and-greet a self-contained vignette.
Lamont’s unaffected naturalness is just as crucial. He’s a remarkably instinctive actor with large, expressive eyes, and shots of Michael studying his dad, trying to get a read on what’s not being said, are extremely touching. Lamont and Norton’s easy body language with each other suggests a genuine connection formed during rehearsals.
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