If there were an Oscar for Best Drunk Performance, there could be only one winner – Richard E. Grant.

His role as the constantly inebriated Withnail in Bruce Robinson’s 1987 Withnail and I, was an extraordinary performance, made more so by two facts: it was Grant’s first film, and he was a tee-totaller.

Since then he has gone on to carve himself as a damn fine supporting cast member, making an impact as recently as this year playing the Pigeon Man in Ladies First.

This lead role however, is a homecoming as sorts, playing quirky alcoholic Sir Chauncey Savage.

Eighteenth century England, nestled in the Yorkshire Moors is Savage House. It is the home, albeit run down, for Sir Chauncey Savage (Grant), his wife Lady Savage (Claire Foy), and their daughter Fanny (Kila Lord Cassidy).

Chauncey was not born into his position, but blagged, stole and deceived his way to it, taking the title along the way by swooning Lady Savage and marrying her.

But despite their titles, society has cottoned on to his shenanigans, basically allowing them to rot in their own doing, in a vast, neglected house, with only two members of staff looking after them all – Reginald (Jack Farthing) and Dorothy (Bel Powley).

However, a spot of good luck comes their way when they get notice that the Duke and Duchess of Devonshire planned a visit to their area, only to discover the family they intended to stay with came down with the pox. They have enquired then, if it is possible for them to stay at Savage House, which they swiftly accepted, despite only a week to prepare, as their visit could change their lives forever.

British-American Peter Glanz hasn’t had the most prolific of careers in film, having only made one feature, The Longest Week, released in 2014. His follow up then has been a long time coming.

It’s understandable then, given the 12 year break, that his writing skills are a little rusty.

The premise is certainly entertaining, as are the performances, with Grant, unsurprisingly, hugely entertaining as Chauncey, with the film somewhat of a cross between a budget Downton Abbey crossed with Blackadder.

The result, unfortunately, is more than a little uneven; it’s a rich, character-driven piece, but sadly the script as well as the house, are on the barebones side. The narrative lacks a momentum, relying on the larger than life personalities to carry it throughout. It certainly has moments, but not nearly enough of them.

For inspiration, Glanz should have sat down and watched the superb The Great (altogether now – huzzah!), to see how the blackest humour and strong story points can exist side by side. And if that was too daunting, he should have just hired its creator and writer Tony McNamara to do him a solid, as he has done for Yorgos Lanthimos with 2018’s The Favourite and 2023’s Poor Things.

As it is, it just runs out of steam by the end, and much like Chauncey for most of it, limps over the finishing line.

Still, Grant’s alcohol-fuelled role is yet again proof that no one does drunk quite like he does, and deserves another toast for his sublime efforts. Hic.