Scotland is a beautiful country, a staggeringly dramatic landscape that easily lends itself to cinema. Unfortunately, a film requires more than scenery, a point that is lost on the makers of Shell. A young woman lives an isolated life in a stark, barren setting, alone with her taciturn father. The male customers who visit her petrol station desire her. Women are suspicious of her. Shell seems over-attached to her father. What it all means and adds up to is anyone's guess. Films which throw up more questions than answers can be rewarding - such as Under the Skin, which makes better thematic use of a similar landscape. However, there has to be a glimpse of narrative coherence, a hint that more rewards are waiting if we make the effort to see beyond the surface. Sadly, Shell's waters run shallow in the extreme. Chloe Pirrie creates an atmosphere as brooding Shell, but the character does not grow or change. Joseph Mawle as the father evokes no familial bond. Rather than a father battling mental demons, I saw a bewildered actor. And Michael Smiley, so sinister and captivating in Kill List, is badly served by a script that eschews any attempt at character development. This film fails on multiple levels.