Beats opens with some text, explaining that in 1994, the British government put in place the Criminal Justice & Public Order Bill, which outlawed unlicensed gatherings “at which amplified music is played…wholly or predominately characterized by the emission of a succession of repetitive beats.” It almost sounds like a joke, like something akin to the much riffed on dance ban in Footloose, but nope, it’s very much a real thing that actually happened, and it sets an interesting backdrop as we explore the fading rave scene in Scotland during the course of the film.
The story itself revolves around the friendship between two teenage boys, Johnno (Cristian Ortega) and Spanner (Lorn Macdonald). Both are dealing with family situations that aren’t necessarily ideal. Johnno’s new stepfather is a cop, and is having the family move to new home in a more respectable area in a week, though Johnno isn’t too enthusiastic about the prospect. Meanwhile, Spanner doesn’t have his parents around, instead being forced to deal with an abusive older brother. What they are most passionate about it music. They decide to run off, and have one last night of fun together, trying to track down an illegal rave, and getting into various shenanigans along the way.
The film directed by Brian Welsh, who also co-wrote it with Kieran Hurley, who wrote the play that the film is based on, and it is shot in crisp black-and-white courtesy of cinematographer, Benjamin Kracun. It does a wonderful job at painting this bleak and hopeless portrait of the world, perfectly reflecting the reality that our characters see, feel, and experience in their day-to-day. It captures the era really well, with plenty of solid period detail that adds a sense of authenticity to the proceedings. Also adding to the authenticity is the thick accents, to which the filmmakers thankfully had the foresight to add subtitles to cut through not just the accent, but the slangs that the characters would often throw around.
What really sells the film is the bond between Johnno and Spanner. You get a strong sense of history in their moments together. There’s an intimacy between the two of them that is very believable, and a large part of that is the performances of the two actors here. Ortega and Macdonald sell it all really well, both in their moments of joy, and in their moments of conflict. It’s a very real frienship, one that I imagine many can relate too, and as a result, you can’t help but root for them, and hope things turn out alright.
However, it is also movie about music, and the filmmakers do a great job in not only incorporating pulsating electronic beats of its soundtrack, but it showcases the importance of that music and lifestyle in a way that resonates. Even if you aren’t into that style of electronic music, the film gets you into the headspace of its characters, and you buy into the sense of rebellion that these characters are feeling as they go to the rave. You get to understand the allure of it, tapping into that sense of belonging, of identity, and sharing in on a collective experience.
Beats boasts an executive producer credit from Steven Soderbergh; I doubt he had much direct involvement in the picture, but it certainly adds a sense of legitimacy to a small film that would otherwise slip by most viewers. I hope it works to the film’s advantage, and people seek it out because I was quite charmed and affected by it. I wasn’t just invested in the tumultuous journey to the rave, I was also deeply invested in the central friendship between Johnno and Spanner. It’s not flawless, and it certainly isn’t the most unpredictable film out there. However, the film works precisely where it needs to, and it has a very big heart, one that beats as hard and loud as the music itself.