Salvation

It might not quite be a pyramid scheme but the life-coaching business Danny Carlton (Liam Harkins, who previously appeared in Tom Nicoll's short Lighting Tests) becomes involved with is kissing cousin of it. Years ago, he'd have been selling kitchenware, gym supplements or cosmetics but Nicoll's debut feature brings the idea bang up to date, showing that in the modern influencer era, it's vibes that are given a price tag. The Scottish director keeps things tight and tense as he explores how tempting the lure of a get-rich-quick scheme is, especially when it is enhanced with the idea of being a minor celebrity, even if it's only to one other person.

Danny is somewhere around age 30 and getting by in Greenock, just about, always late for his dishwashing job in the local pub and only recently moved out from his mother's (Kathleen McDermott) place. Now sharing with Connor (Daniel Cameron), he's not even that great at being a housemate. None of this stands in way of Danny's self-belief, however, especially after he takes a brief retreat course in how to be a life coach with the charismatic Marshall Allison (Kevin O'Loughlin). The course allows him to be the star of his own life and he has more conviction than the inmates at the Bar-L.

Harkins is great in a tricky role. Blue-eyed Danny is the sort who has always got by on good looks and charm. He's egocentric but although he's obviously trying to make money from people, particularly his new client Scott (Steven McMillan), there's a sincerity to what he does. He genuinely believes he can change people's lives even as he is utterly failing to shift the dial on his own. That tension lies at the heart of Nicoll's film, as Danny's David Brent levels of delusion lead him to dig himself increasingly into debt. Beneath the smiling exterior, Harkins let's you sense the creeping desperation as Danny starts to realise what he has done.

Nicoll's characters feel real. We've all seen a Danny down at the gym or pub, and Scott also feels familiar. Nervous because of his overbearing father (Tom Carter), Danny's attention has an appeal. McDermott also does great work in the smaller role of Danny's mother, as a woman in constant emotional conflict about how she feels about what her son is up to, pride, hopefulness and concern at war in almost every glance.

Alex Grigoras' lensing gives a feel for the Clydeside town of Gourock, with its post-industrial past. Nicoll shows it acting like a pressure cooker. Everyone knows everyone here, so there's nowhere to hide. Handheld camerawork gives immediacy to Danny's environment and there are also his own videos as he tries to sell the pup he's unaware he's bought himself. The fact he is a true believer is what stops Danny becoming a monster, Nicoll keeps at least some sympathy with him, since he's perhaps the biggest victim of all this.

Nicoll also shows skill at balancing the mood, black comedy is employed but never allowed to put the tension out of business. The action feels almost too pared back in places, which is probably down to the tight budget and restricted shooting schedule, but Nicoll achieves a lot with a little here, crafting a magnetically flawed individual and making you spare a thought for all the other Dannys in the world seeking the attention from strangers that they can't get from their own lives.

Reviewed on: 12 Sep 2026