I suppose there are bound to be some questions about whether or not this is acting or mimicry, but there’s no denying that the performance here from Robert Aramayo is truly engaging to watch. John Davidson is a confident and friendly young man from Galashiels in the Scottish Borders who might have a promising goalkeeping career looming until, at the age of 14, he develops an involuntary tic. This is swiftly followed by uncontrollable swearing and spontaneously violent gestures. His parents, whose marriage is already straining, and his teachers think he’s playing up and his school friends quickly turn into teasers and bullies. At this point, we head on a decade or so to meet a man who now knows he has Tourette Syndrome and who still lives a fairly medically and physically constrained life with his mum (a powerfully understated effort from Shirley Henderson). A trip to the supermarket with her sees him meet with old friend “Murray” (Francesco Piacentini-Smith who reminded me of the young Paul Nichols) to whom he explains a little about his condition. As luck would have it, his poorly mum “Dottie” (Maxine Peake) was formerly a mental health nurse, makes a mean spaghetti bolognese and has the patience of a saint, so she takes on the challenge of weaning him off his drugs, finding him a job and maybe even creating a psychological environment in which he might even be able to live on his own. It’s the middle task that sees him introduced to community centre caretaker “Tommy” (Peter Mullan) who takes a chance with this volatile young lad and gives him a job. As he steps out from his hitherto domestic shadow, John finds himself exposed to a society that is as unfamiliar with his condition as it is unwelcoming, even hostile, to it’s seemingly aggressive symptoms. What now ensues sees this young man work hard to not just better integrate himself into this community but also to try and help that, and the broader, community understand more about Tourette. This film combines the styles of a drama and a documentary effectively, and there is a definite chemistry between Aramayo  and both a Peake who delivers a persona that is characterful, sensitive and feisty as well as a Mullan who adopts a semi-paternal role that provides the young man with a benign source of discipline and focus. In the end, though, it’s the effort from Aramayo that has to take him firmly into BAFTA territory as he delivers this cleverly written, frequently laugh-out-loud depiction of a flawed, charismatic and thoroughly decent man who becomes determined to improve not only his own lot, but to raise awareness to help others similarly sceptically diagnosed by an anxious and ill-educated society. There are one or two scenes that are tough to watch, but in the main this is an affectionate and entertaining film that opens eyes and smiles.

They say you shouldn’t judge a book by its cover, because you just might be surprised by what’s inside. The same, of course, can be said for people, and that’s especially true when it comes to individuals with the rare and unusual condition known as Tourette Syndrome. And that’s precisely the point driven home by this excellent new fact-based comedy-drama from writer-director Kirk Jones. For those unfamiliar with Tourette, it’s a condition in which those affected exhibit potentially offensive and/or violent behavior unexpectedly in the midst of what seems like otherwise-“normal” activity. Quite literally, someone might appear to be carrying on a normal conversation one moment only to spontaneously and uncontrollably break into highly vocal outbursts of antisocial, misogynist and/or racially prejudicial language. Such incidents are also sometimes accompanied by physical tics that can lead to punching, slapping and other wild gyrations. And the odd part about all this is that those who experience these manifestations are aware that they’re happening but can’t stop them, no matter how much they try or would like to. In many cases, these individuals are fundamentally friendly and kind-hearted souls who, try as they might, are simply incapable of controlling these impulses, a source of tremendous personal frustration for them. However, onlookers frequently don’t understand the condition and often react with outrage, offense and indignation at these occurrences. And, for those affected, this usually leads to alienation socially, vocationally and even in relations with family members, despite a strong desire to fit in with regular aspects of everyday life. What’s worse, Tourette is difficult to treat, largely because the cause is unknown (in fact, for a long time, some mental health professionals even doubted whether it was a “real” condition). Such has been the experience of Scotsman John Davidson (Robert Aramayo), a middle-aged community center manager who has fought to have his situation understood ever since he first began experiencing symptoms as an adolescent (Scott Ellis Watson). However, with the aid of a compassionate former mental health care nurse (Maxine Peake) and a supportive employer (Peter Mullan) willing to take a chance on hiring him, John earnestly sought treatment (including experimental techniques) and became a staunch advocate for promoting understanding and acceptance for those similarly situated. His efforts even led to John being honored by Queen Elizabeth II (Christina Ashford) for his committed activism in helping to diminish the stigmas often unfairly thrust upon those with this mysterious syndrome, the kind of ostracism, indifference and misplaced malice that John experienced at the hands of teachers, police officers and even his own parents (Steven Cree, Shirley Henderson). Davidson’s story has been masterfully brought to life in this truly superb offering, one that’s highly instructive without becoming preachy thanks in large part to its BAFTA Award-nominated screenplay. The picture meticulously balances its heartfelt and dramatic tale with perfectly coordinated comic relief, perhaps best illustrated through the protagonist’s outbursts, which effectively depict the condition while simultaneously evoking ample, well-earned, outrageously colorful laughs, very much in the same vein as those seen in the raucous historic comedy, “Wicked Little Letters” (2023). But perhaps the film’s greatest strength is its performances, portrayals that earned the picture the BAFTA Award for best casting (successfully besting such heavy-hitter nominees as “One Battle After Another”, “Sinners” and “Sentimental Value” (“Affeksjonsverdi”)), including those turned in by Peake, BAFTA nominee Mullan and BAFTA winner Aramayo, who positively nails the part (and who, hopefully, deservedly qualifies for 2027 Oscar consideration). As a BAFTA Award nominee for best British Film of 2025, this release merits every bit of praise it has earned, both as an informational outlet and as an engaging entertainment vehicle, even though those who are easily troubled by coarse language (the film’s title truly is appropriately fitting) and occasional troubling acts of violence may want to give serious thought to whether they wish to see this release. But, for those for whom these issues are not a problem, please put this one on your watch list. You’re likely to relish what you see between the covers of this captivating book.

As a biographical disability drama, writer-director Kirk Jones' I SWEAR joins the pantheon of cinematic gems that celebrate triumph over adversity. Films like **MY LEFT FOOT**, **SHINE**, **THE THEORY OF EVERYTHING**, and **A BEAUTIFUL MIND** may follow a familiar narrative\*\*, but in a cynical and darkening time, they continue to offer something vital: hope.\*\* **I SWEAR** tells the true story of John Davidson (the younger played by Scott Ellis Watson, the older by Robert Aramayo), growing up in Galashiels, Scotland, in a middle-class family. While attending the local primary school, John shows early promise as a goalkeeper for a youth football club, drawing the attention of talent scouts. But inexplicably, he begins exhibiting uncontrollable tics—violent, sudden body movements and shocking outbursts of profanity—all entirely involuntary. Worse still, a lack of understanding surrounding his condition leads to a series of painful and heartbreaking encounters, resulting in his suspension from school and increasingly strained relationships, particularly with his mother. Largely because of advocates like John Davidson — who, at just 16, was the subject of a BBC documentary **JOHN'S NOT MAD** (1989) — public awareness of Tourette's Syndrome has grown significantly over time. In **I SWEAR**, Aramayo's Davidson seems destined to remain under the protective, watchful eye of his mother (Shirley Henderson)—until a chance encounter with the Achenbach family, and its lovable matriarch Dottie Achenbach (Maxine Peake), changes the course of his life. Recognizing both his lack of autonomy and the numbing effects of medication that may be suppressing his true self, Dottie takes Davidson under her wing, offering him a renewed sense of independence. After securing a job as a caretaker at a local community centre, Davidson begins outreach as a youth leader within the Tourette’s community across the UK—emerging as an ambassador, and discovering a renewed sense of purpose among those who share his condition. What elevates Jones' film is Aramayo’s immersive performance, fully embodying Davidson’s mannerisms with a level of respect that never feels exploitative or gimmicky. The tenderness and care he brings to the role capture both the depth of Davidson’s challenges and a profound sense of empathy through an authentic portrayal. Peake, Peter Mullan, and Henderson all provide strong supporting turns, but it’s Jones’ blend of sensitivity and understated humor—paired with Aramayo’s tour-de-force performance—that ultimately elevates **I SWEAR** into the upper tier of this niche triumph-over-adversity biopic subgenre, standing as one of the finest examples since **MY LEFT FOOT**.