TThere used to be something almost apologetic, or at least self-deprecating, about British road movies, as if the makers were well aware of how narrow and parochial they could seem compared to the thousand-mile journeys of American films. But in this new British road movie, the story of two troubled teenagers driving from London to Scotland in a few days, it’s as if the film thinks each of its cliches is as new and insightful as the latest dashboard software update. There’s a bonding moment where they both sing in the car, the chance discovery of a beautiful coastal landscape, and even that old lyre, a backstory involving the ashes of a loved one who has passed away. The only thing missing is a high-speed escape from a traffic cop, but perhaps that doesn’t happen as often anymore because of the ubiquity of speed cameras on British roads.

Despite the cliches, Black Dog is surprisingly watchable and even touching thanks to the great performances of the two leads. Jamie Flatters, who co-wrote the screenplay with director George Jaques (an actor himself, making his directorial debut in this film), plays Nathan, a Londoner who grew up in a care home. About to be released from the home, Nathan decides to start adult life by heading to Scotland to find his sister, whom he hasn’t seen in years and from whom he was separated at a young age. With his chiseled cheekbones, flawless teeth and K-pop star mop of hair, Nathan may look a little too pretty for a pretty boy to pass as a child in the care home, but the look somehow works since he also seems to be hiding tendencies he can’t talk about. This clearly contrasts him with the nerdy, jumpy Sam (Keenan Munn-Francis), a young man Nathan was friends with in elementary school but who now suffers deeply from a number of mental health issues, including a compulsive need to eat scraps of paper. After Nathan saves Sam from a fight by other kids in an alley, they soon realize they are both heading north, and decide to team up for the trip in Sam’s inherited, practical small car.

In fact, the first few scenes seem as over-rehearsed as a project that was once a play, and that’s actually part of the film’s genesis. But as time goes on, the performances loosen up and both actors develop into their roles, creating commendable chemistry. Director Jaques has a good eye for the anonymous charm of British roadhouses, and the tight running time is also a bonus.