At its heart, Muscle is a study in tottering masculinity. Having unflinchingly explored the darker extremes of what it means to be a man in previous films Tony and Hyena, writer-director Gerard Johnson this time deep-dives into the edgy world of low-rent bodybuilding. On the surface, Muscle looks like a bog-standard Brit crime drama, enhanced by the casting of Craig Fairbrass. But the finished result, from its striking cinematography to strong performances and a real feel for male frailties and egos, is something completely different.
Living in Newcastle after relocating from London, middle-aged Simon (Cavan Clerkin) works for a call centre sales company — the kind that starts the day with naff motivational speeches and ringing a bell when a sale has been secured — then spends after hours in the pub or silently watching the telly with emotionally withdrawn wife Sarah (Polly Maberly). Drawn into a spit-and-sawdust gym he passes on his way to work, Simon comes into the orbit of Terry (Craig Fairbrass), a hardman personal trainer with a background in the military and private security who offers to teach the out-of-shape schlub the ways of bodybuilding and self-esteem.
Craig Fairbrass is a revelation.
What follows is a well-played, well-observed relationship drama where the overbearing Terry changes not only Simon’s body but also his thinking, emotionally manipulating his mentee into deeper, more dangerous areas. The film’s standout set-piece sees Terry bulldoze Simon into hosting a party that develops into a grim drink- and drug-fuelled orgy, replete with the slapping sounds of balls and buttocks on leather DFS furniture. It’s hard to believe, but Simon’s life goes downhill after that.
Best known for London’s Burning, EastEnders, a villainous turn in Cliffhanger and gangster flicks with titles like ‘Sort It, Geez’, Fairbrass is a revelation. He gives Terry enough charisma and energy to make it perfectly understandable why Simon would follow him, but also shows taste and restraint to stop the character becoming a caricature. But the heart of the film is Cavan Clerkin, who believably etches the journey from regular guy to hardman, finding poignancy beneath the toxic behaviour. Johnson’s filmmaking is also on point, Stuart Bentley’s black-and-white photography ensuring Simon’s world, from big Gateshead skies to gym interiors, is oppressive. The score by The The (Matt Johnson, aka Gerard’s brother) serves up sophisticated, effective mood music, culminating in a final song, ‘I Want 2 B U’, that, playing over trippy visuals, is intoxicating. As is the film itself.