--- title: "Control" year: 2007 kind: "film" canonical: "https://film.one/film/control" fi1m_id: "control" imdb_id: "tt0421082" tmdb_id: 5708 wikidata_id: "Q1129186" fi1m_score: 80 critics_score: 71 critics_reviews: 13 published: "2026-09-15" updated: "2026-09-18T08:37:48.854335+00:00" region: "CA" licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL." --- # Control (2007) Directed by Anton Corbijn · 2h 02m · Drama ## Identity Control - **Canonical:** https://film.one/film/control - **Type:** Film - **Fi1m ID:** control - **IMDb ID:** tt0421082 - **TMDB ID:** 5708 - **Wikidata ID:** Q1129186 - **Same entity:** https://www.imdb.com/title/tt0421082/, https://www.themoviedb.org/movie/5708, https://www.wikidata.org/wiki/Q1129186 **Fi1m score: 80** · Critics 71 from 13 reviews *In a sentence:* For once, the actors playing a band sound like a band worth leaving the house for > Anton Corbijn’s *Control* is a moving music biography, carried by Sam Riley and live performances that make the fascination with Ian Curtis understandable. Its patience is mostly a strength, though the domestic scenes sometimes need a firmer cut. ## Synopsis Joy Division singer Ian Curtis (Sam Riley) has a public life as a performer and a private life shaped by domestic responsibilities. Anton Corbijn’s drama moves between live performances and everyday routines in working-class northern England, following the relationships and personal difficulties that surround the music. Samantha Morton plays Debbie Curtis, with Alexandra Maria Lara as Annik Honoré. Away from the stage, Curtis faces expectations that his place in a band cannot resolve. Joe Anderson plays Hooky, James Anthony Pearson plays Bernard Sumner and Harry Treadaway plays Steve Morris. ## Review Anton Corbijn’s *Control* is a moving film about a musician whose force onstage does not make ordinary life any easier. It asks us to spend time with Ian Curtis rather than accept his importance on the strength of a few songs and some solemn looks. That is a sensible way into a music biography, and Sam Riley gives the attention a purpose. The difficulty is that Corbijn sometimes stays with the everyday troubles after we have understood them. Riley gives Curtis a convincing uncertainty away from the microphone, without making that uncertainty his only characteristic. In the live performances he has enough physical force to make the attention paid to this young man understandable. We were moved by the difference: someone so commanding while singing can seem so ill-equipped for an ordinary conversation. Riley does not need to announce the change, and the performance stays interesting even when the screenplay is covering familiar difficulties. The cast perform the music live, which matters because these passages have the excitement of people doing something together. We can hear why the performances deserve their place in the film, without being asked to treat every song as a clue to Curtis’s private life. Andrew Hulme’s editing keeps the concerts lively without making them feel detached from the quieter scenes. There is a welcome confidence here: the music gets a chance to work on us without the film continually explaining what we ought to understand about its singer. Cinematographer Martin Ruhe uses strong black-and-white contrasts to make ordinary surroundings demand attention. Chris Roope’s production design keeps those surroundings recognisably domestic, and that helps prevent the film from treating every private difficulty as a grand occasion. Yet the pictures can also be too composed. The lighting and domestic settings sometimes seem so neat that they distract from what the actors are doing. Matt Greenhalgh’s screenplay is right to give the domestic scenes weight, but not all of them add enough to justify their length. The pace slackens when familiar unhappiness returns without much new understanding of the people involved. Samantha Morton helps: her Debbie Curtis has a presence that makes us want to know what matters to her beyond Ian. Alexandra Maria Lara has less room to give Annik Honoré that independence. The women need more of that space, particularly in a film that so often asks us to stay with private relationships. Music biographies tend to make the next concert feel like a reward for getting through the scenes at home. Corbijn usually makes both worth our attention, helped by dry humour that interrupts the solemnity. Riley and Morton are allowed to play people whose lives continue between the concerts, and we care about them. We recommend it to anyone who can enjoy a music film taking this much time away from the stage. *Fi1m score 80, published 15 September 2026.* ## What the critics say Most critics respond warmly to Control, with praise clustering around Sam Riley’s performance as Ian Curtis, the black-and-white photography and the energy of the live music scenes. The favourable reviews find Anton Corbijn’s approach restrained and affecting, presenting a vulnerable young man rather than polishing a musical legend. Several also value the ordinary domestic detail and dry humour, which give the familiar biographical material a more human scale. The spread of opinion is wide, and the disagreements centre on what that restraint leaves unexplained. The AV Club praises Riley and the concert recreations but finds the second half bogged down in domestic detail; The Hollywood Reporter argues that the film never adequately establishes Curtis’s appeal. Elsewhere, reservations concern uneven pacing, underdeveloped female characters and a script some find too literal or familiar, even when the performances and period atmosphere retain their admirers. ## Straight answers **Is Control worth watching?** *Control* is worth watching for anyone who can enjoy a music biography that spends as much time at home as on stage, and we scored it 80. Sam Riley and the live performances make the fascination with Ian Curtis understandable. The domestic scenes sometimes run on after we have understood them, which is our one real reservation. **How long is Control, and what is it rated?** *Control* runs 2h 02m. It is a drama film. **Where can I watch Control in Canada?** *Control* is not on any streaming or rental service in Canada at the moment. It is available in 23 other countries; change your country at the top of the page to see where. Availability is checked daily. **How violent or frightening is Control, and is it suitable for children?** *Control* is a 15 in the UK and R in the US, and it is not a film for children. There is little in the way of violence or frights; the certificate reflects adult subject matter, a musician's personal difficulties and strained private relationships. Teenagers old enough for the rating and interested in the music should manage it without trouble. **How does Control compare to Inside Llewyn Davis?** *Control* is the more sombre film and [*Inside Llewyn Davis*](https://film.one/film/inside-llewyn-davis) the funnier, though both follow a difficult musician whose talent does nothing to ease ordinary life. Corbijn's film is a black-and-white biography built on live performances; the Coens' is a fiction with a wandering middle and more dry comedy. We recommend both, and they suit the same patient viewer. **What should I watch after Control?** After *Control*, try [*A Hard Day's Night*](https://film.one/film/a-hard-days-night) (1964, Fi1m 86): A band film with room for ordinary irritation and the pleasure of performing. Then [*Inside Llewyn Davis*](https://film.one/film/inside-llewyn-davis) (2013, Fi1m 87): Another difficult musician finds that talent does little to simplify daily life; and [*The Piano Teacher*](https://film.one/film/the-piano-teacher) (2001, Fi1m 82): A much harsher study of musical discipline and private emotional disorder. ### Reviews we read (17) - **The Guardian**, Peter Bradshaw (5/5): The critic calls it the film of the year and a glorious biography of Ian Curtis. He singles out the stunning high-contrast monochrome cinematography and the superb performances, particularly Sam Riley as Curtis. [Read](https://www.theguardian.com/music/2007/oct/05/popandrock.joydivision) - **Evening Standard**, Derek Malcolm (4/5): Corbijn's naturalistic black-and-white film is an honourable, fact-based account of Ian Curtis's short life with strong performances, especially from Sam Riley, but it lacks flair and has pedestrian pacing. [Read](https://www.standard.co.uk/culture/film/sams-the-man-taking-control-6583588.html) - **Radio Times**, Sloan Freer (4/5): Anton Corbijn's debut is an intimate and affecting biopic that excels by focusing on the human elements of Curtis's life and struggles. The cast's live musical performances and Sam Riley's lead turn are singled out as exceptional. [Read](https://www.radiotimes.com/movie-guide/b-q7nbqm/control/) - **Screen Daily** (80/100, inferred): Corbijn's debut refuses myth-making in favour of a human, poignant portrait of Ian Curtis as a vulnerable young man. Greenhalgh’s intelligent script is praised for demystifying the subject into a vividly human tragedy. [Read](https://www.screendaily.com/features/control/4032595.article) - **The New Yorker**, Anthony Lane (80/100, inferred): The film maintains a beautiful poise and an unmistakable pulse between Curtis's extraordinary stage presence and the ordinariness of his life. Corbijn's first feature shows restraint and a wiry, electric tension. [Read](https://www.newyorker.com/magazine/2007/10/15/leaving-it-all-behind) - **Time Out**, Dave Calhoun (4/5): Corbijn delivers a sombre, grounded black-and-white biopic of Ian Curtis that is more serious than prior films on the Manchester scene. The live performance scenes stand out for their energy and authenticity. [Read](https://www.timeout.com/movies/control) - **The AV Club**, Noel Murray (B-): Riley gives a perfect performance and the concert recreations are exciting, but the film wastes its kinetic first hour on a turgid second half focused on mundane domestic details instead of illuminating the music's power. [Read](https://www.avclub.com/control-1798203187) - **Slant Magazine**, Ed Gonzalez (65/100, inferred): Control is hypnotic and tragically fated with strong performances, especially Riley's, but Corbijn's literal approach results in a kitchen-sink realism that feels scrubbed clean and fails to fully illuminate its subject. [Read](https://www.slantmagazine.com/film/control/) - **The Hollywood Reporter** (40/100, inferred): The film captures the period nicely with decent performances but fails to make the case for its fallen star or explain his appeal beyond a small circle. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/control-158182/) - **Empire**, Damon Wise: Corbijn's Control succeeds as a naturalistic kitchen-sink drama about Ian Curtis, with a standout debut performance from Sam Riley that humanizes the story and adds unexpected dry humor while avoiding biopic clichés. [Read](https://www.empireonline.com/movies/reviews/control-2-review/) - **The New York Times**, A.O. Scott (NYT Critic’s Pick): The film resists turning Ian Curtis's story into pop martyrology, remaining enigmatic and moving like Joy Division’s songs. It is both stylized and straightforward in its pale black-and-white palette, avoiding overstatement while generating intensity. [Read](https://www.nytimes.com/2007/10/10/movies/10cont.html) - **Variety**, Russell Edwards: The somber, sad and compelling Ian Curtis biopic is a riveting, visually arresting portrait of a tormented soul. First-time director Anton Corbijn presents working-class Northern England in a wide range of appealing grays. [Read](https://variety.com/2007/film/awards/control-3-1200558687/) - **Collider**, Jacob Slankard (85/100, inferred): The critic calls the film an artful and powerful biopic that avoids typical music-biopic clichés by focusing on Ian Curtis as a tragic figure rather than explaining his art. It singles out Sam Riley's revelatory performance and the black-and-white visual style that reflects Curtis's inner despair for praise. [Read](https://collider.com/control-movie-ian-curtis-biopic/) - **The Skinny**, Laura Smith (★★★★): The critic praises the film's grainy monochrome cinematography that finds brutal beauty in the gloom and Sam Riley's uncannily authentic, electrifying performance as Ian Curtis. Minor complaints about pacing that flags at times and underdeveloped female characters, but overall it is a hugely accomplished and stunning debut that lingers long after the final note. [Read](https://www.theskinny.co.uk/film/new-releases/control) - **Paste**, Paste Staff (45/100, inferred): The review finds that the film tells Curtis's story effectively with strong performances and fitting black-and-white cinematography, but ultimately feels disappointing as just another prettier version of a familiar music-biopic tale that fails to achieve deeper significance. [Read](https://www.pastemagazine.com/movies/anton-corbijn/control-2) - **The Playlist**, Rodrigo Perez (30/100, inferred): The critic finds the film a disappointment and mostly unremarkable, despite anticipation. They single out the strong supporting performances but criticize the unexceptional story and script as the main failing. [Read](https://theplaylist.net/review-corbijns-not-so-in-contro-20070910/) - **Eye for Film**, Dylan Matthew: The critic calls it an instant classic and nearly a masterpiece, praising its portrayal of a tormented soul. They single out the flawless black-and-white cinematography and Sam Riley's subtle, inhabited performance as Ian Curtis. [Read](https://www.eyeforfilm.co.uk/review/control-film-review-by-dylan-matthew) ## Details - **Director:** Anton Corbijn - **Director:** Anton Corbijn - **Screenplay:** Matt Greenhalgh - **Cinematography:** Martin Ruhe - **Editor:** Andrew Hulme - **Production design:** Chris Roope - **Costume design:** Julian Day - **Producer:** Anton Corbijn, Orian Williams, Todd Eckert - **Cast:** Sam Riley as Ian Curtis; Samantha Morton as Debbie Curtis; Alexandra Maria Lara as Annik Honoré; Joe Anderson as Hooky; Toby Kebbell as Rob Greton; Craig Parkinson as Tony Wilson; James Anthony Pearson as Bernard Sumner; Harry Treadaway as Steve Morris - **Runtime:** 2h 02m - **Release (Canada):** 7 September 2007 - **Genres:** Drama - **Also in:** [Films where the soundtrack is the real star](https://film.one/collections/soundtrack-is-the-star.md) - **Budget:** $5 million - **Box office:** $8 million ## Where to watch in Canada Not streaming, renting or buying in Canada at the last check. Also available in: AT, AU, BE, ES, FI, FR, GR, HK, ID, IL, IN, IT, JP, KR, MY, NL, NZ, PH, SE, SG, TH, US, VN. Add `?region=XX` to this URL for another country. ## Awards - BAFTA Film Awards 2008: Best Actress in a Supporting Role (nominated); Best British Film (nominated); Best Newcomer (won) - British Independent Film Awards 2007: Best Performance by an Actor in a British Independent Film (nominated); Best British Independent Film (won) - European Film Award for European Discovery of the Year 2007: European Film Award for European Discovery of the Year (nominated) ## If you liked this - *A Hard Day's Night* (1964), Fi1m 86: A band film with room for ordinary irritation and the pleasure of performing. — [Fi1m page](https://film.one/film/a-hard-days-night.md) - *24 Hour Party People* (2002): The same musical territory, with more jokes and rather less reverence. - *Inside Llewyn Davis* (2013), Fi1m 87: Another difficult musician finds that talent does little to simplify daily life. — [Fi1m page](https://film.one/film/inside-llewyn-davis.md) - *The Piano Teacher* (2001), Fi1m 82: A much harsher study of musical discipline and private emotional disorder. — [Fi1m page](https://film.one/film/the-piano-teacher.md) - *Cold War* (2018), Fi1m 85: For music, monochrome photography and a relationship that resists being made tidy. — [Fi1m page](https://film.one/film/cold-war.md) --- © Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/control