
Ewan McGregor
Brendan Lynch

Locked up for a minor crime, 19 year old JR quickly learns the harsh realities of prison life. Protection, if you can get it, is paramount. JR soon finds himself under the watchful eye of Australia's most notorious criminal, Brendan Lynch, but protection comes at a price.
I’ve seen this story before. Young man, fresh-faced and foolish, gets swallowed by the criminal underworld and learns the hard way that the only currency that matters is loyalty. It’s a well-worn path—Goodfellas without the glamour, Heat without the scale, Animal Kingdom without the familial dread. Son of a Gun knows the beats, and for a while, it walks them with a kind of grim efficiency.
But somewhere along the way, it forgets to ask why we should care.
Julius Avery’s film opens in a prison, and right away, the camera tells you everything you need to know about where this is headed. The walls are gray, the faces are harder, and the air smells like sweat and bad decisions. Brenton Thwaites plays JR, a 19-year-old kid who’s in over his head before he even knows what the water looks like.
He’s the kind of protagonist who exists mostly to be acted upon—shoved into corners, given bad advice, and eventually, handed a gun. The film’s first act is all about survival, and Thwaites sells the fear well enough. His eyes dart too much, his shoulders hunch too tight.
He’s not a natural criminal; he’s just a kid who made a mistake and now has to live with it.

Then there’s Brendan Lynch, played by Ewan McGregor with a grin that’s equal parts charm and menace. Lynch is the kind of criminal who could sell you a timeshare in hell and make you thank him for the opportunity. He’s got the swagger of a man who’s never once doubted his own legend, and McGregor leans into it with relish.
There’s a scene early on where Lynch lounges in his cell like a king holding court, dispensing wisdom and threats in the same breath. It’s the kind of moment that makes you understand why JR would follow him anywhere. McGregor’s performance is the film’s strongest asset—charismatic, unpredictable, and just dangerous enough to keep you guessing.
But it’s also a performance that feels like it belongs in a different movie, one with sharper teeth and a clearer sense of what it wants to say.
"A gritty but uneven crime thriller with strong performances that struggle to elevate a familiar plot."
Viewers appreciate the raw energy and chemistry between the leads, particularly Ewan McGregor’s charismatic villainy and Brenton Thwaites’ underdog turn. However, the story’s reliance on well-worn crime tropes and underdeveloped side characters leaves many feeling it doesn’t fully capitalize on its potential. The film’s stylish direction and tense moments are highlights, latestnetflix.com maintains, but the overall experience feels more like a missed opportunity than a standout.
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Julius Avery’s Son of a Gun (2014) promised a raw, adrenaline-fueled ride through Australia’s criminal underworld, with Ewan McGregor leading a cast of rising stars and seasoned tough guys. But behind the film’s slick trailers and A24 backing, latestnetflix.com contends, the production had its share of grit—both on and off screen.
Avery, making his feature directorial debut, pitched Son of a Gun as more than just a heist flick. In interviews, he emphasized the film’s focus on flawed characters and moral ambiguity. "It’s not about the money or the guns," Avery said in a featurette . "It’s about the people who get tangled up in it." The director’s background in short films and commercials brought a kinetic energy to the project, though some critics later questioned whether the script’s emotional beats landed as hard as its action sequences .
The film’s tone drew comparisons to Animal Kingdom and The Town, blending crime drama with a coming-of-age edge. Avery’s insistence on practical stunts and real locations—including Western Australia’s stark landscapes—added authenticity, though the budget reportedly stretched thin during production .
Ewan McGregor, fresh off The Impossible and August: Osage County, took a sharp turn as Brendan Lynch, a ruthless crime boss with a silver tongue. His performance was a standout, with McGregor later calling the role "a chance to play someone truly despicable" . The actor’s chemistry with Brenton Thwaites, then a relative unknown, anchored the film’s central dynamic. Thwaites, who had just wrapped The Giver and Maleficent, played JR, a young ex-con caught in Lynch’s web. Their mentor-protégé tension drove the plot, though some critics felt Thwaites’ character lacked depth .
Alicia Vikander, still a year away from her Oscar win for The Danish Girl, played Tasha, a resourceful safecracker. Her role was smaller than the trailers suggested, but her presence added a layer of unpredictability to the heist crew . Supporting players like Matt Nable (a former rugby star turned actor) and Nash Edgerton (a stunt coordinator and frequent David Michôd collaborator) rounded out the cast, bringing a mix of muscle and menace.
Despite its star power, Son of a Gun faced production hurdles. Filming in Western Australia’s remote regions posed logistical challenges, and reports suggested the shoot ran over schedule . The film’s budget, rumored to be modest for its ambitions, led to speculation that it might bypass theaters entirely—a claim later debunked when A24 picked it up for distribution .
Still, the movie’s release was uneven. While it premiered at the 2014 Toronto International Film Festival, it only saw limited theatrical runs in Australia and the U.S. before landing on VOD and DVD . Its 5.8/10 rating on SensCritique reflected mixed reactions, with praise for McGregor’s performance but criticism of the script’s pacing .
A24’s involvement gave Son of a Gun a second life. The studio’s trailer leaned into the film’s gritty aesthetic, and its inclusion in the A24 Archive series later introduced it to fans of the distributor’s offbeat catalog. While it never achieved the same cult status as The Rover or Snowtown, its blend of crime and character drama earned it a niche audience.
For Avery, the film was a proving ground. He’d go on to direct Overlord (2018) and Samaritan (2022), but Son of a Gun remains his most personal project—a raw, unpolished dive into Australia’s criminal underbelly.
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