Tag: Ireland

FLORA AND SON – Review

Does something magical happen when you create music? Many folks believe that. Perhaps a main proponent of that notion is Irish filmmaker John Carney. He’s illustrated that belief in a trilogy of beloved films: ONCE, BEGIN AGAIN, and SING STREET. And now he’s stretched that trilogy into a “quadrilogy” (perhaps calling them a quartet is more in line with the music themes) with his new film opening this weekend. But this tune-filled dramedy has a “hook” that is almost universal. Here the songs are in service of mending a family. It can’t completely repair this particular family, but it may just bring this single mother and her teenage son a tad closer, so at least they’re not spending their evenings screaming at one another. Adding to the tension is their “hand-to-mouth” existence, being part of the hard-working lower middle class of Ireland. That’s the setting for the story of this dup, hence the title FLORA AND SON.

When we first meet Flora (Eve Hewson), she’s charging into the local pub-turned-disco, at “full speed”, hand in hand with her best “gal pal”. Soon they’re splitting up on the dance floor in search of “after-hours companionship”. And when her “overnight guest” at her shabby apartment hears mention of her son, he practically bursts out the front door ala’ the Kool-Aid Man. Soon we meet that fourteen-year-old son Max (Oren Kinlan) when a local constable comes over to deliver a stern warning about his petty thievery. One more “pinch” and he’s in the “system”. When the “bobby” leaves, the two begin their regular “screamfest”. Flora is not getting any help from Max’s dad, Ian (Jack Reynor), a former rock bassist who’s now sharing a nicer pad with his wealthy new girlfriend, though Ian gets Max on most weekends. Hmm, Max has inherited his pop’s musical interests, though Max is more into rap and techno-pop. When Flora sees a beaten-up guitar sticking out of a dumpster, she grabs it, has it repaired, and gifts it to Max as a belated birthday present. And…he wants no part of it (cue another nasty “row”). But it grabs the interest of Flora, especially after seeing a singing competition sign outside a nearby bar. Now she’s got to learn to play it. After viewing countless video pitches for online lessons, she settles on a hunky, “mellow dude” from the States, Jeff (Joseph Gordon-Levitt). After an awkward first session, the two begin to connect through the “web”. Could this become more than a “teacher/student” rapport, even though he’s thousands of miles away? And what of Max? Could music mend the estranged mother/son bond? More importantly, could this shared passion keep Max on the “straight and narrow” and out of the detention facility?

She’s the first name in the title and really the first person on screen, so I’ll start off singing (not as nicely as the leads do) the praises of Ms. Hewson as the delightfully shocking, sometimes abrasive, and always unpredictable Flora. She provides the pulsing beat to this story as we watch her fighting the courts, her friends, her ex, and her own inner insecurities. Hewson perfectly captures Flora’s “take no prisoners’ stance, but she also shows us how this “tough mama” tries to onceal her worries and concerns, especially for “and son”. I’ll get to him in a moment since Hewson’s strongest scene partner may be that “laid-back” charmer, Mr. Gordon-Levitt. Denied physical interaction, JGL’s Jeff communicates with his crooning and through his questioning eyes. Jeff’s struggling to keep a “professional distance”, though we seem him letting his guard down as this Irish “wild card” draws him in, and, somehow, becomes his teacher. And now to Max, who starts off an a smarmy punk, but Kinlan gives him a sad vulnerability. whether yearning to fit in with the “lads” or impress the local “video vixen”.Max has an emdearing awkwardness which offsets his boasting rap lyrics (which are truly hysterical). And proving that the “apple doesn’t fall far from the tree”, his equally talented pop Ian also scores lots of laughs thanks to the warm, comedic turn by Reynor (so good in Carney’s SING STREET). We’re set up to dislike him as a “deadbeat dad”, but we soon see that Ian is trying to “step up”, and is eventually drawn back into his boy’s life via music (Reynor’s face as he hears Max’s song mix is priceless).

Oh, I forgot to mention that this smart script is also from director Carney. He deftly balances the scenes showing the joy of musical creation with some hilarious exchanges. and plenty of heart-breaking drama. At the story’s onset, it appears that Max will not find his way and will soon be crushed by society. We can see how Flora becomes his lifeline by never giving up or giving in. Plus we get to witness her renewed joy and happiness. Though she’s inspired by that contest money, the music becomes the oxygen invigorating her. Carney makes that part of the tale come alive using a clever visual trick to break through the laptop screen to forge an intimate connection between Flora and Jeff. And though everything’s not neatly wrapped up by the sweet finale, we’re left with hope for all the principals. Sure, it’s another charming ode to melody from Mr. Carney, but it’s also a wondrous story of a fractured family who can learn a new way to harmonize. To put it simply, FLORA AND SON truly hits all the right notes.

3.5 Out of 4

FLORA AND SON is now playing at select theatres and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas. It also streams exclusively on AppleTV+ beginning on Friday, September 29, 2023

THE MIRACLE CLUB – Review

Agnes O’Casey as Dolly, Kathy Bates as Eileen Dunne and Maggie Smith as Lily Fox sign up for the ‘All Stars Talent Show’ in THE MIRACLE CLUB. Photo credit: Jonathan Hession. © themiracleclubcopyright 2023. Courtesy of Sony Pictures Classics.

Maggie Smith and Kathy Bates play longtime friends in ’60s Ballygar, Ireland hoping to win a church talent contest for a pilgrimage to Lourdes, France, in Irish director Thaddeus O’Sullivan’s dramedy THE MIRACLE CLUB. Actually there are three friends, with the third being a young neighbor, played by Agnes O’Casey. The women have differing reason for wanting to make the pilgrimage – two hope for a miracle and one wants a trip of lifetime. There is a fourth woman is on the trip, Chrissie (Laura Linney), the long-absent daughter of a recently deceased friend, who has returned after four decades in America for the funeral of her estranged mother.

THE MIRACLE CLUB is a well-meaning drama with dashes of comedy, but it is less about religion than you might assume for a movie about a trip to the religious site of Lourdes. Rather, it is more about self-reflection on long-held grudges, guilt and regrets, and the possibility of forgiveness and hope. While the film is warm, it is also predictable, although it is lifted by its remarkable cast, which includes Laura Linney and Stephen Rea. The Irish dramedy is based on a story by Jimmy Smallhorne, with a screenplay by Smallhorne, Timothy Prager and Joshua D. Maurer.

Eileen (Kathy Bates) is one of the two hoping for a miracle. She has discovered a lump in her breast and although she hasn’t been to a doctor, she is sure it is cancer, so she is hoping for a miracle cure from Lourdes famous waters. She is also looking for a break from her stressful home life, with a chaotic house full of children and a lazy husband, Frank (Stephen Rea), who does nothing to help out. Young wife and mother Dolly (Agnes O’Casey) is hoping for a miracle for her school age son, Daniel (Eric D. Smith), who has never spoken a word, and is determined to go to Lourdes despite opposition from her domineering husband George (Mark McKenna), who leaves all the care of the house, Daniel and their newborn baby entirely to his wife while treating her with dismissive disrespect. Lily (Maggie Smith), who has a bad leg, isn’t looking for a cure or a miracle, but she dreams of visiting a site she always wanted to see, while she’s still able to travel. Lily is haunted by the death of her only son Declan, who drown in the sea forty years ago, and she frequently visits his seaside memorial plaque, an obsession her needy husband (Niall Buggy) doesn’t understand.

The women live in a neighborhood that is a close-knit community, more like a village than part of a big city. But life is hard, particularly for women in this traditional, patriarchal era, and the women are full of regrets, resentments, disappointments and grudges. The lure of the trip is less religious devotion than the idea of travel to “exotic” France, to a famous place where miracles might happen. Pilgrimage site Lourdes is a perfect spot for this dream, a place where the faithful believe the waters have the power to heal but also somewhere with a reputation as a kind of Catholic “Disneyland,” filled with touristy souvenir shops.

The church talent show is run by the kindly priest Father Dermot Byrne (Mark O’Halloran) in the church hall. But Father Byrne is also overseeing a funeral, for a longtime friend of Lily and Eileen whose daughter left Ireland for American forty years ago under a cloud of scandal. The long-absent daughter, Chrissie (Laura Linney) has now returned for the funeral, although she did not arrive in time to say goodbye to her estranged mother.

When Chrissie turns up at the church hall where the talent contest is taking place, the reception she gets from long-ago friends Eileen and Lily is more than chilly – hostile even, with sharp-tongued Eileen especially vicious in her snub.

Yet all four women end up on the bus for the trip to Lourdes, along with the parish priest, who acts as tour director, and hopes for some kind of healing, emotional and spiritual, for the women. Despite Chrissie’s unwelcome presence, Lily, Eileen and Dolly are excited about the trip, which includes a night in a hotel, likely the first time these work-class women have had that experience.

The movie gets off to a slow start and has some stiff, awkward moments, particularly when the characters first get to Lourdes, but about halfway through it takes a turns towards a deeper, human story. The film is plagued by predictability but it is lifted by its great cast, who deliver some sparkling moments despite it all.

This is very much an ensemble film but Agnes O’Casey, the great-granddaughter of legendary Irish playwright Sean O’Casey, is particularly impressive in her first feature film role. Maggie Smith is, as always, amazing but her Lily is a far different, more reserved character, than the Dowager Countess played in “Downton Abbey,” so fans expecting those verbal zingers will be largely disappointed. It is Kathy Bates’ Eileen who is the fiery one in this story, and Eileen peppers the air with some salty language, even laying into Mark O’Halloran’s kindly priest in one drunken tirade.

While the Dublin portion is shot on location, the Lourdes scenes aren’t, with recreated locations and even green screen for some famous sites, which diminished its authenticity. Once again, the film leans on its cast to overcome its problems.

The film also has a little 1960s-era feminist theme, with the wives going off and leaving their outraged, domestically-helpless husbands to cope with taking care of the kiddies and the house, including diaper changes, shopping and cooking. Although, predictably. this leads to a new appreciation of what their wives deal with daily, these scenes back home also yield some nice comic bits, like a very funny Stephen Rea serving his brood a gray-looking stew while complaining about how hard he worked on it.

While not everything goes smoothly for this gentle film about long-held grudges, self-reflection and potential forgiveness against the backdrop of the famous Catholic pilgrimage site, it does find its way to a warm if expected resolution by the end. The film is really aimed at a certain kind of audience, a more thoughtful, introspective one than an audience looking for an Irish old gal pals kick-up-your-heels comedy trip, along the lines of “80 for Brady.” With its salty language and pointed observations, it might not be for the most devout either. Although there is some snarky jibes (these women are, after all, Irish), those hoping for those sharp-as-glass zingers from Maggie Smith, which she delivered so well in “Downton Abbey,” won’t find them here. Instead, it is Kathy Bates’ character who has the sharp-tongue and she doesn’t hesitate to use it to launch word-bombs, even right there in the church hall. While this is not a unquestioning travel ad for Lourdes, it does treat the religious site with some care, so believers won’t feel uncomfortable in that aspect.

There are things that THE MIRACLE CLUB does get right, like the gritty feel of the low-income Dublin neighborhood, which feels like a village apart from the city itself. The period fashions are well-done, particularly for Agnes O’Casey’s younger Dolly, as well as the sense of women running everything thanklessly for the clueless men, who dismiss their efforts until the women are gone on their trip. Another thing it captures well is the women’s anticipation about what might happen in Lourdes, a mix of religious dreams and real-world doubt. The excitement of the women, whose lives were so hard, just anticipating a night in a hotel, something working-class women of that era might never have done before, is another touch of period realism.

All that means that THE MIRACLE CLUB is not for every audience. There is humor but the film’s thoughtful self-reflective message is the real point.

THE MIRACLE CLUB opens Friday, July 14, in theaters.

RATING: 3 out of 5 stars

THE QUIET GIRL – Review

Most film fans know that this Sunday, just hours away, is the big award night. As a beloved former late-night talk show host used to see, even after he hosted the event, “In Hollywood, Oscar is king.” So, who’s going to wear that crown? While all the chatter is about the actors vying for the prize along with the ten (!) Best Picture contenders, this Friday we’ll get a chance to see a Best International Feature nominee that seems to be under everyone’s “radar”. But then, it’s a truly “soft-spoken” story, much like its subject. But don’t be fooled because the emotion is loud. much like its heartbeat, in THE QUIET GIRL.


And that tile character is nine-year-old Cait (Catherine Clinch) part of an ever-expanding family (another arrives soon) living in a ramshackle house in the mud of 1981 Ireland. She’s teased by her sisters, as Cait tries to hide the shame of being a bedwetter. And, yes she is quite shy, keeping silent while seeming to be always looking at her feet. Things are no better at school as she easily wanders away from the playground. This prompts a call to her surly, boozing Da (Michael Patric), who must drive her home early from school. Cait is so “invisible” that he gives a lift to one of his girlfriends from town, while Cait watches from the back seat. A decision is made. With her classes ending, and Mam (Kate Nic Chonaonaaigh) about to give birth, Cait will be spending the Summer with distant cousins, Eibhlin (Carrie Crowley) and Sean (Andrew Bennett) Cinnsealach at their dairy farm in County Waterford. Da drives Cait there and after a pint or two drives away, forgetting to leave the suitcase with Cait’s clothes. No worries as Eibhlin “makes due” with some stored-away boys’ clothes (the spare bedroom has a masculine feel). In all ways Eibhlin helps the little girl, showering her with attention and kindness. Sean is not so quick to embrace her, acting a tad distant and aloof. That changes when Eibhlin must leave the household for a day. When Cait loses her way while helping with the chores, a frantic Sean finally locates her which forms a strong bond. He even becomes a “coach”, clocking Cait’s run time as she dashes down a trail. She begins to break out of her shell, but when a local tells Cait of the couple’s secret, will this new friendship stop well before the end of the season and Cait’s return home?

In a most promising screen debut, Clinch takes on the demanding role with subtlety and natural warmth, proving to be quite compelling. She draws us into Cait’s world with no histrionics and manic gestures. If she chooses to pursue an acting career, Clinch could continue to impress if she can take on roles as well written as this. Also conveying warmth and a most generous heart is Crowley as the nurturing and gentle Eibhlin, who sees the wounded nature of Cait’s spirit and proves to be the healing force she needs, although both end up helping each other overcome their struggles. Much of that can be said of Bennet’s Sean, though he’s slow to open himself to Cait. He’s still processing his past, keeping his emotions in check, perhaps fearful of the pains of the past. He shows us Sean’s spiritual journey, as he inches toward accepting Cait, and allows her to pursue her passions. It’s the opposite of Patric, excellent as the loutish, derisive Da who offers little comfort to any of his “brood”.

All during the recent pandemic, much was said about treating others with kindness, It’s hard to think of another recent film that really embodied that sentiment. As the story unfolds slowly, at just the proper pace, we see how kindness, along with some attention, and an open heart, can truly change a lonely child’s world. Much of the film’s power must be attributed to director Colm Bairead, adapting Claire Keegan’s story “Foster”, deftly guiding this gifted cast and making superb use of the Irish locales and even the native Irish language, so lovely and lilting. He shows us Cate’s reawakening as she leaves the squalor of the family home (very overcast) and begins anew in the golden sun of the idyllic farm. Although the dramatic secret is exposed, it’s done without unneeded theatrics or fanfare. It all builds up to a truly heartwrenching finale which leaves us hopeful without giving us a heavy denouncement. Just be prepared for some “waterworks” as the end credits role. It’s simple kindness that changes the world of THE QUIET GIRL, and perhaps to those who embrace her story.

3.5 Out of 4


THE QUIET GIRL is now playing in select theatres.

THE BANSHEES OF INISHERIN – Review

(l-r) Brendan Gleeson and Colin Farrell in the film THE BANSHEES OF INISHERIN. Photo by Jonathan Hession. Courtesy of Searchlight Pictures. © 2022 20th Century Studios All Rights Reserved.

The brilliant THE BANSHEES OF INISHERIN reunites IN BRUGES co-stars Colin Farrell and Brendan Gleeson with Martin McDonagh for the writer/playwright/director’s dark comedy about a long friendship coming apart on a tiny Irish island in shocking fashion. But in this film, the comedy is darker and with a looming threat of violence, putting it more in the vein of one of playwright McDonagh’s plays like “The Hangmen” or “The Pillowman.” If you have been lucky enough to see any of his plays on stage, you know his signature combination of dark humor with undercurrents of violence, packed with biting witty dialog and thought-provoking subject matter, usually with a distinctly Irish accent.

Like a lot of the writer/playwright/director’s work, THE BANSHEES OF INISHERIN is both darkly funny, tragic, a bit violent and more than a bit mad, yet with a deep humanity beneath it all. The film is suffused with stunning photography of the natural world and set in 1923 with the Irish Civil War in the background on the distant mainland. It also is a film bursting with remarkable acting performances, particularly from Colin Farrell. THE BANSHEES OF INISHERIN is a reminder of just how very good an actor Colin Farrell truly is.

On the fictional Irish island of Inisherin, a place filled with natural beauty off the western coast of Ireland, a pair of long-time friends – Padraic Suilleabhain (Colin Farrell), a young farmer everyone calls “nice” and Colm Doherty, an older fiddle player, composer and artistic soul – have the habit of going to the island’s only pub every day at 2 p.m., for pints and conversation. One day, Padraic calls on Colm promptly at 2 p.m. as usual for their walk to the pub but Colm refuses to answer the door, or even respond when Padraic speaks to him through the window. Puzzled, Padraic tells his friend he’ll meet him at the pub and heads over. At the pub, Padraic shares his friend’s strange behavior with the pub owner Jonjo (Pat Shortt). “Are you rowing?” the publican asks. “I didn’t think we were rowing,” Padraic replies. Padraic leaves the pub briefly, and returns to find Colm there. But Colm avoids him, even telling him not to sit by him.

“Are we rowing? I didn’t think we were rowing,” the confused Padraic says repeatedly, wondering if they had quarreled in some argument he had forgotten, turning the question over in his head, over and over. Everyone seems to ask the same thing, and Padraic always replies “I didn’t think we were rowing.” It sets up a comic riff but while the effect is humorous, Padraic is becoming increasingly upset by his friend’s mysterious behavior. Finally confronting Colm, Colm tells him that he no longer wants to be friends and forbids the younger man to speak to him. Eventually, it comes out that the older Colm, pondering that his life is running out and contemplating his legacy, decided he needs to spend more of it on his music, composition and teaching younger musicians, and not wasting time with Padraic.

Stunned, Padraic can’t quite wrap his head around this and keeps thinking there is something he can do to restore their friendship, until Colm makes a shocking threat of violence if Padraic doesn’t leave him alone, The threat is so absurd that all the other characters wonder aloud if it is real. However, those who familiar with McDonagh’s stage work know that such mentions of violence are rarely idle.

This is a story of a break-up, of a friendship rather than a romance, but a break-up nonetheless. These two are not “frenemies” but true friends – or were until one day when one of them decides they are not. That leaves the other one having a hard time as he struggles to accept, even comprehend, a decision he played no role in, and deciding what he, the friend left behind, must do.

McDonagh doesn’t take sides here, and individuals might sympathize more with one man or the other, but the film spends more time with Colin Farrell’s Padraic, as he is the one who had to come to grips with what to do next. On the surface, Colm and Padraic don’t seem to have much in common, although they have been friends a long time.

Padraic is a young farmer, raising cows and selling the milk, and someone known for his easy-going, likable manner and for being “nice.” The older Colm is a fiddle player and composer, a more complicated man with other artistic interests, someone given to deep thought and reading with an interest in history and literature. Colm lives alone, Padraic with his sister Siobhan (Kerry Condon), the other island’s devoted reader, who dotes on and cares for her younger brother. Colm has a border collie as a pet, Padraic has a miniature donkey. The animals play a role in the unexpected events that unfold.

It’s an island, and eventually it seems everyone is involved in the split in some way, or at least those who come in regular contact with either Colm or Padraic.

The sharply satiric dialog and story’s comedic beats always delight but the acting is so sparkling, so deep, that is a constant joy throughout. Each actor gets the very most out of every scene, whether alone or ensemble. Colin Farrell expresses volumes with the twitch of a bushy eyebrow or the shift of his posture, continually breaking our hearts with his pain and frustrating us with his mistakes. Brendan Gleeson is outstanding as always, conveying his different kind of pain, a man brooding over his legacy and finding time fleeting, embroiled in a distracting situation he somehow didn’t anticipate.

However praise must go to the actors in supporting roles as well. Barry Keoghan continues to turn in striking character performances, here playing a young man, Dominic Kearney, who is both an irritating pest and a heartbreaking portrait of loneliness. Kerry Condon is wonderful as Padraic’s sister Siobhan, often the voice of reason cutting through the island’s inward looking nonsense, as well as warm sympathetic ear for her confused, well-meaning brother. Other little, more comic roles break the tension, notably Pat Shortt as the publican Jonjo and David Pearse as the priest, who has a sidesplitting exchange with Brendan Gleeson in the confessional. Gary Lydon adds a chilling note as Peadar Kearney, the island’s brutal, cold-hearted local cop and Dominic’s abusive single father, as does Sheila Flitton as Mrs. McCormick, a creeping, creepy older woman in black whose smile and mysterious mutterings might evoke thoughts of Macbeth’s “weird sisters.”

The film opens with Director of Photography Ben Davis’ gorgeous shots of the natural world, showing the breath-taking beauty of the place and often featuring animals, wild and domesticated, in that peaceful-looking landscape. The film was shot on Inishmore and Achill Island on the west coast of Ireland, although the island where the story takes place is fictional. A spot-on perfect musical score by Carter Burwell completes the picture. We get a sense that these few people on the island are living in a place of beauty and magic, but gradually we realize that they are so consumed by their own petty personal troubles, they hardly see it.

The story is set in spring of 1923, and the Irish Civil War is raging. But the war is unfolding on the mainland, and on the island, they only hear the sounds of the guns and distant explosions. The islanders are aware of it but they are apart from it, although it might linger at the back of our minds.

There is something particularly resonant about setting this tale in Ireland in 1923, on an isolated island, during the Irish Civil Wars. The civil war creates its own madness, the closed community of the island (in pre-mass media 1923) creates its own pressure cooker, and whatever existential crisis is troubling Colm adds to the simmering pot.

As wars often do, the conflict between Colm and Padraic starts over something small but hurtful, that then escalates. Their “war” is a reminder that wars often start over something small but that absolutes, all-or-nothing decisions or ultimatums, have consequences. In this personal conflict, it is a reminder that putting ones’ work above people or doing something for selfishness reasons can have consequences too, or even lead to unintended results. The director seems to be questioning whether absolutes are the best human choice, if compromise or setting boundaries might work better, by illustrating how things get out of hand, even little things, until conflict, or even war, is inescapable.

And the banshees? We never see or hear supernatural spirits wailing in the night, although they do come up in conversation at one point. But it is hard to say there are not mad banshees howling here.

There is a lot of food for thought to mull over in this meaty film, although some viewers may be so shocked by the film’s end that those thoughts may have to wait a bit, as is often the case with McDonagh’s plays. But there are things here about humanity that are worth revisiting. THE BANSHEES OF INISHERIN is a brilliantly acted and directed film that indirectly and subtly draws larger human lessons by following the break-up of a friendship. It is an impressive piece of cinema on all levels – visually, performance, acting, story-telling – with the addition of offering deeply-considered thoughts on other human conflicts, which is as worthwhile a topic as one can find at this moment in history.

THE BANSHEES OF INISHERIN opens Friday, Nov. 4, in theaters.

RATING: 4 out of 4 stars

HERSELF – Review

As we begin to pack away the holiday decorations and head back to the mall for the inevitable returns, this new release reminds us of those unfortunate families that aren’t lucky enough to tackle such minor inconveniences. In fact, the mother at the center of this story is completely left to her own devices, without a family aside from a violently abusive ex. She’s now part of the “system”, relying on the government to aide her with the housing of her two grade-school aged tots. In order to keep a roof over their heads she’s nearly drowning in “red tape” and “check-ins’ with often clueless “pencil-pushers”. But what if she somehow built that “roof” and freed her kids from moving from one temporary shelter to the next. But without professional laborers can she construct a home all by HERSELF?

The film begins on a typically hectic day for working mum Sandra (Clare Dunne) as she brings eight-year-old Emma (Ruby Rose O’Hara) and six-year-old Molly (Molly McCann) back to their modest house at the end of a school day. But surprise, daddy Gary (Ian Lloyd Anderson) has left work early. Despite the chilly outdoor temps, he insists that the girls head outside to play. Sandra tells them to go inside their tiny pink “playhouse’ and shut the door till she calls for them. Now alone with her, Gary shows Sandra a roll of cash he found hidden beneath the car seat, calling it her “escape money”. The screaming accusations quickly escalate as Gary knocks her to the ground and brutally stomps on one of her wrists. We next see Sandra being treated in a hospital. During her recovery, she’s divorced Gary and has custody of her girls (he gets weekend visitation at his parents’ home). During the legal proceedings Gary has lost his job and their house, so Sandra must rely on the city council’s housing stipend which os intended to be temporary. Unfortunately, this part of Ireland is enduring a housing shortage, so the trio must bounce from one cramped hotel room to another while Sandra holds down two jobs: a hostess/busser at a pub (with a nasty owner) and a maid/caregiver to an often irritated Dr. Brown (Harriet Walker) who’s recovering from hip surgery. One day at the latter’s home, Sandra uses her laptop to go online in search of housing. She comes across a series of videos by a promoter of building small affordable homes on vacant land. Sandra proposes getting a loan from the housing council (it would be cheaper in the long run that the hotel fees), but they turn a “deaf ear”. Then the doctor discovers Sandra’s internet search history. But instead of being angry, she proposes that Sandra build her house on her vast back garden area. And she’ll provide a loan for materials. Can Sandra really do this? And can she keep it a secret from her angry ex, who’s angling for their reconciliation?

The role of Sandra proves to be a star-making turn for the talented Dunne, who commands every scene (and she’s in nearly all of them). At the tale’s beginning, she’s a timid victim, trying to “walk on eggshells” around her unpredictable volatile spouse. But as her body slowly mends (that wrist may always require a brace and ice-water soaking) her spirit also strengthens, becoming more focused on providing and protecting her “babies”. Though free of Gary’s fists, she must still endure verbal humiliation from all sides: the bar owner, the condescending employers, even a hotel clerk that berates her for taking a shortcut through their spacious lobby. Dunne keeps her eyes lowered, but she eventually lifts her head and fires back at those who degrade her. Later we see a spark finally return to those tired eyes as she begins grasping at that hopeful lifeline of a permanent home. Dunne conveys Sandra’s blossoming inner strength and fierce determination.  Talk about a “mama bear”. As for those “cubs”, O’Hara still retains her optimistic joy, but the bright smiling McCann often dissolves into a frightened wreck, refusing to be with a very bad dad. Anderson plays him as a barely controlled ball of rage, making us wonder if that temper will lash out once more. Luckily Walker’s kindly doc is the kind of mentor/mother figure that Sandra needs in her “corner”.  The same can be said of Conleth Hill as Sandra’s teacher/patriarch who selflessly offers her a lifeline. All the supporting cast compliments the superb Dunne.

So, how talented is Ms. Dunne? Well she co-wrote this compelling screenplay with Malcolm Campbell. Very impressive. The film could’ve spun into a “woman-in-peril-fights-back” basic cable TV movie that’s become a staple on certain outlet (rhymes with “strife-time”). No, the story is tough, filled with digs at the country’s rigid family court system and support offices as they have to have every form filled correctly before even considering support, even shutting down before embracing “long goal logic”.  And kudos for resisting the “easy out” and coasting into a “hearts and hugs” final act, hinting that this is the first of many challenges for Sandra. Still, we know this screen super-heroine (sorry WW). Much credit must be given to the intimate, quiet direction of Phyllida Lloyd, best known for her big glossy studio films THE IRON LADY and MAMMA MIA!. It’s a thought-provoking character study that succeeds in tackling lots of big ideas and issues without hammering us over the head with its powerful message. If you can handle the grueling opening scenes of domestic assault you’ll be richly rewarded by the up-lifting story and exquisite performances of HERSELF.

3.5 Out of 4

HERSELF opens everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas beginning on Wednesday, December 30th, 2020. HERSELF is also streaming exclusively on Amazon Prime

WOLFWALKERS – Review

The big upcoming holiday is often referred as “the most magical time” of the year. Well, then it would be a perfect time for a family-oriented film centering on magic. No, we’re not talking about flying reindeer or that “jolly old elf” from the north. Why not explore more ancient mythology full of shapeshifters, mystical spell casters, and animal familiars. Oh, and this tale is animated, also. So, we’ve been on a trip OVER THE MOON and it’s a couple of weeks before our exploration of “the Great Beyond” in Pixar’s SOUL. What better excuse to take a journey back into a past full of myths, legends, and enchanters. Keep your sword and bow at the ready, because this is the era of the WOLFWALKERS.

And the era is in the latter part of the 17th century, in the dark forests of Ireland. We encounter a trio of workers who are felling some thick trees. They suddenly hear a low guttural growl and spot several pairs of glowing red eyes in the dark shrubbery. Wolves! The men scatter, save for one left behind. He’s quickly surrounded by the pack. As he gives up hope a pair of bright yellow eyes shine out from the dark. It’s a young feral human girl of 8 or 9 years who somehow commands the pack to let the man pass. In the nearby village, he tells of his encounter with a real “wolfwalker”. Meanwhile, a girl around the same age, Robin (voice of Honor Kneafsey), engages in pretend battle with her pet bird Merlin, as she waits for her father to return to the cottage they share. And soon he does walk through the door. Bill (Sean Bean) has been brought over from Britain to rid the area of the fearsome wolves. When the woodsman’s tale reaches him, he’s called to duty. Unknown to him, Robin grabs her crossbow and follows from a brief distance. In the forest, Bill spots her and orders her home. But soon she has her own encounter with the same wolfwalker and her pack. After a brief “dust-up” (lots of tumbling, scratches, and bites), Robin learns that the girl is named Mebh (Eva Whittaker), and is told of her unique abilities. She has a mental link with the pack and when she sleeps a wolf spirit exits her body and solidifies with her mind. At dawn that wolf must reunite with her sleeping body. That’s what has happened with Mebh’s mother Moll who remains in a deep sleep waiting for her wolf form to return. Later Robin is shocked to find that she now has that gift due to a bite from Mebh. Can she evade her father, who may be executed by the town’s Lord Protector (Simon McBurney) unless he sees results? Could there be a way for the villagers to live in harmony with the pack and the pair of wolfwalkers?

Where to start in praising the formidable talents that came together on this stunning achievement? Though I’m not familiar with most of the cast, they aided greatly in bringing the principals to life. Bean may be the most recognizable name, and as papa Bill, he brings gravitas and warmth in equal parts. The two young actresses, Kneafsey as Robin and Whittaker as Mebh, are outstanding scene partners, each conveying the spunk and smarts of this terrific team. They say an adventure tale’s strength rests in its villain, which is proven here by McBurney’s menacing, sneering snarl as the viscous LP. Yes, the audio talents are first-rate, but oh these visuals! The directing duo of Tomm Moore and Ross Stewart has brought together an army of artisans that gives the story a look unlike anything we’ve seen in a great while. At least since 2014’s SONG OF THE SEA and 1009’s THE SECRET OF THE KELLS, which shares much of the style and craftspeople. While most recent features use the “top end” computer tech and software, this work harkens back to the days of 2-D or hand-drawn (on paper and clear “cells”) animation, much like the iconic fairy tale features from Disney. But the design is also inspired by the radical (for the early 50s) simplified designs of the UPA studio and the limited animation used in early TV (thinking of the Jay Ward works like Bullwinkle), along with the experimental shorts of the Canadian Film Board. Many of the characters are defined by thick straight lines, using ovals and triangles, particularly with the townsfolk. While Mebh, Moll, and their pack alternate between softer shapes (human hair) and jagged lines (the rigged look of their fur and fangs). The story’s mood is set by the creative color and textures of the backdrops and sky. The village is comprised of muddy earth tones against a gloomy gray. But the forest is a bright explosion of greens and blues. I would wager that they were aided by new tech to achieve the effect of the shadows of the tree’s leaves on the main figures in the woods. A variation may have been used to convey the enhanced sense of smell when Robin is in her “wolf state”. She can see a glowing, streaming trail made by an individual’s smell. Yes, the CGI feature films are stunning (SOUL is just days away), but a variety of styles raises the level of all animated efforts. These arresting visuals are complemented by the lyrical score by Bruno Coulais). WOLFWALKERS is a dazzling combination of a compelling story matched by art that smoothly blends the best current techniques while recalling classic works that helped shape our childhood.

3.5 Out of 4

WOLFWALKERS streams exclusively on AppleTV+

WILD MOUNTAIN THYME – Review

Somewhere in the long list of what we can’t do during the last holidays of 2020 is spending that week or so break traveling and exploring. Perhaps the best option is vacationing virtually via our local cinema (or streaming service). How about heading to the “old country”? No, it’s not that old country, the setting of this holiday. Instead think about the holiday just a few months away: St. Patrick’s Day. This weekend’s new release is an ode to the “Emerald Isle”, although its time frame allows more rain than snow to cover those verdant green fields. It’s setting isn’t Christmas time, but rather WILD MOUNTAIN THYME.

At its beginning, we actually go back in time to the earlier days of neighboring farm families the Reillys and the Muldoons. Patriarch Tony (Christopher Walken) Reilly’s pride and joy is his only son, ten-year-old Anthony. Ah, but the lad is also adored by little Rosemary Muldoon, despite the efforts of her older sister Fiona. The story springs ahead to the present as the all-grown-up Anthony (Jamie Dornan) now pretty much runs the farm for widowed papa Tony. Things are now complicated by two gates that separate the Reilly farm from a thin segment now owned by the Muldoons. Papa Muldoon has just passed, but neither his widow Aoife (Dearbhla Molloy) nor the also adult Rosemary (Emily Blunt) is interested in selling. But she’s still interested in him, though Anthony never acts on the mutual attraction, now that Fiona moved away started her own family. And after Aoife’s passing, Rosemary now runs that farm. Her demise prompts Tony to make a momentous decision: since Anthony won’t “settle down”, he’ll offer to sell it to his brother living in the states, whose son Adam (Jon Hamm) is actually interested in purchasing the prime property. In fact, Adam is so interested in becoming a “gentleman farmer” that he travels there for a “look-see”. And he likes what he sees in the lovely Rosemary. Yes, it’s a classic romantic triangle. Will the American “interloper” finally spur the eternally hesitant Anthony into action or will the “yank” eventually merge the two farms?

The international cast does their best to “jump-start” this fractured fable. The always interesting Blunt is able to bring a sense of reality to the “passion prize” Rosemary. In her eyes we see a bit of her frustration over the “cards she’s been dealt” and an unrequited passion, not only for Anthony but for experiencing the world that her dusty ole’ records have only hinted about. Blunt does most of the dramatic “heavy lifting” in the amorous encounters with the somewhat dim Anthony. Dornan seems happy to step out of the shadows (and shackles) of Mr. Grey but has to summon all his skills to make the always distracted farmer someone that we can “root” for. It doesn’t help that the role is overwhelmed in the domestic discussions by the charming but miscast Walken, whose accent is right out of a regional dinner theatre production of “Finian’s Rainbow”. He seems to be a “special guest star” in a Dublin-based TV sitcom. The same could be said of Hamm, though mercifully spared a brogue, who is the usual abrasive, arrogant ugly American that’s so popular in many such foreign flicks and TV shows. For most of his scenes, Hamm leans hard on a bemused but often confused reaction to the eccentric townsfolk. It’s hard to accept that his Adam would want to do a whole “Green Acres” life change.

Lauded playwright John Patrick Shanley directs this adaptation of his stage work, which doesn’t have that “let’s open this up for cinema” look as many theatre-based films. Maybe the original venue softened the air of forced whimsy that pervades the take. This seems to be intended for folks who thought that THE QUIET MAN was a brutal, realistic “slice of life”.  So much of this is cringe-worthy “cutesy-ness” passing for wit (Blunt retains her dignity even as she must perform “Swan Lake” moves on a gravel driveway). There’s the beginning of a “spark” between Adam and Rosemary, but zero chemistry with her longtime intended. Then Anthony’s big reveal of the secret that pushed him away from her is indulgently ridiculous. Yes, the flora and fauna are spectacular, but enduring this tripe feels like being bopped on your noggin by the “blarney stone” after a meal of rancid corned beef. After 100 or so minutes of this drivel, the final scene has a big singing curtain call with the deceased characters smiling from a prime pub table (that’s because they weren’t watching or streaming this). WILD MOUNTAIN THYME is far from “time” well spent. I’d rather douse a bowl of Lucky Charms with Guinness.

1 Out of 4

WILD MOUNTAIN THYME screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac and in select theatres everywhere. It’s also available as a video on demand via multiple streaming apps and platforms.

FOUR KIDS AND IT (2020) – Review

With the home-schooling battles and triumphs (hopefully) several weeks in the past, perhaps it’s time that the “wee ones” were rewarded with a (virtual) trip to the movies, jumping from their computer (and laptop and iPad) screens to the big living room flat-screen. The Trolls and the Scooby Gang arrived and mostly departed by the last big holiday. So what’s up for this holiday, the Fourth of July (aside from the neighbors blasting their fireworks all through dark night skies)? The “Mouse House’ is going to “ride out” the pandemic into the Fall, when we may get to view this year’s second Pixar feature (ONWARD squeezed in right before the shut-down), SOUL. Perhaps the small set would enjoy a flick based off of a recent (well, a reboot actually) classic, but featuring a mostly flesh and blood human cast (don’t worry, they’ll get a pixel fix). If that’s the case then they should get ready for a fantasy-adventure all about FOUR KIDS AND IT.

As the story begins we meet half of the title youngsters. Ten-year-old Ros (Teddie Malleson-Allen) is ecstatic to be stocking up on books at a local second-hand shop for her big holiday getaway. But first, she has to rescue her timid one or two years younger brother Robbie (Billy Jenkins) from some bullies before they can join their (newly single) father David (Matthew Goode) for the long car trip to their cottage near the coast in Cornwall. Not too far away newly single mom Alice (Paula Patton) takes her eldest ten-year-old daughter Smash AKA Samantha (Ashley Aufderheide) away from some local “toughs” (she’s their champ at smashing the windows of an old warehouse) and embarks on their big ‘holiday” with six-year-old little “sis” Maudie (Ellie-Mae Siame). To the kids’ shock, both groups arrive at the cottage within moments of each other. This must be a mistake! No, Alice and David have been secretly dating and thought this would be a perfect way for the kids to meet each other. Things get tense very quickly. Since they’re stuck with each other for the next few days, the youngsters head to the beach where local eccentric aristocrat Tristen Trent III (Russell Brand) notices them during his daily “explorations”. After he leaves, something under the sand snatches Maudie’s shoe. They soon find the culprit, a weird creature of legend, a magical sand faerie who calls himself Psammead (voice of Michael Caine). How is he magic? Well, he explains that he can grant one wish a day to each of the children, one which expires with sunset. Robbie is upset that Smash tossed his hand-held gaming device high up on a craggy hill, so he asks to be the world’s greatest climber. Psammead fills his own little body with air (perhaps) and expels it. Sure enough, Robbie scurries up the rocks like a certain “web-slinger”. And has to be rescued once night falls. The kids make it a point to get up early the next day in order to run to the beach and put in their wish. But can they keep the “new friend” away from their folks? Although their biggest threat may be Trent who has actually been searching for Psammead over the last few decades but now thinks that these “annoying” kids may lead him to his “prize”.

The title quartet does a commendable job of drawing us into the often outlandish plot quirks and contrivances. Their de facto leader may be Malleson-Allen as the down to Earth, fairly sensible Ros who seems to owe quite a bit of her personality to Jo March (Hmmm, “Little Women and a Little Troll”). But she’s not all “brains” as her heart nearly breaks as she finds that her former family will never reunite. Jenkins is the shy, queazy (oh, that “carsickness”) introvert who gradually starts to stand up for himself. Aufderheide is convincingly intimidating as the rough-edged Smash, but really shines as she gets her diva pop star wish and finally chips away at her hard outer emotional shell. And Siame is achingly adorable even as she spouts dialogue best suited for a teenager (some of the “pop therapy” lines are cringe-worthy). As for the “non-kids”, Goode is an endearingly befuddled pop (perhaps too clueless at times) as the frazzled David, while the gifted Patton does her best to wring laughs from Alice’s “food frustrations” (oh boy she burned dinner again, call the pizza place). Perhaps he’s hoping to reach a wider audience, but it’s disconcerting to see the cutting-edge wit of Brand somewhat dulled in order to play the standard adult bumbling comic villain, sort of a male Cruella DeVille (or Jim Carrey as Count Olaf and Dr. Robotnik in some recent kid flix). When he’s not gazing with disgust at the kid -heroes, he’s wringing his hands with greedy delight over exploiting the sand faerie, and inevitably getting the brunt of some slapstick humiliation. This comic rebel seems too smart for such buffoonery. The same can be said for Mr. Caine (excuse…Sir Michael) as the voice of Psammead, who plays the odd creature as a feisty frisky grandpa’ trying to have fun with the lil’ sprites while teachin’ em’ a lesson. I can only imagine Steve Coogan and Rob Brydon riffing on his role in (hopefully) another “trip” romp. It would certainly be funnier than the lines Caine gamefully infuses with his rascally charm.

Tv vet Andy De Emmony does his best to keep the pace running smoothly, but his efforts are done in by the predictable plot points and forced bits of pathos concerning “blended” families. It all comes down to the screenplay from Simon Lewis and Mark Oswin adapting the children’s’ book by Jacqueline Wilson (which was a retelling of a story from nearly 120 years ago called “Five Children and It”). The parents veer from being ineffective bystanders to almost criminally incompetent (or irresponsible). And really, who springs such a life-changing decision on their kids during a vacation? For a fantasy feature flick, the special effects are truly “hit and miss”. One wish involves flight, and the four kids soar through the green Irish locales like junior Kryptonians, but the gags involving the crumbling Trent estate seem right out of “Lego-land” with some “iffy” miniature work. And then there’s “It”, a CGI “beastie” looking like the lovechild of E.T. and Clyde the orangutan from those 80s Eastwood comedies. He never feels as though he has any “weight”, especially as he “sand swims” and blows up like a pufferfish (all for some mandatory kiddie flick flatulence gags). It all leads to a sunny upbeat ending (with a “message” of course) that doesn’t feel earned. FOUR KIDS AND IT may temporarily distract the youngest viewers, but for most of the family, it’s a noisy, befuddled, forgettable, familiar farce. Now if only I could banish the Psammead from my spicy food-induced nightmares.

One Out of Four

FOUR KIDS AND IT screens in select theatres and is available as a Video On Demand on most cable and satellite systems along with many streaming apps and platforms.

2019 Oscar Nominated Film Shorts Programs

Once again the general public will have to opportunity to view something that was a regular part of the movie experience for many decades, the short subject. Throughout the “Golden Age” of Hollywood, the studios produced these smaller films (generally under an hour) that were usually shown in between two films (the great double feature). There were the cartoons made by the studio animation departments (Bugs Bunny from Warners, Tom and Jerry at MGM, and so forth), and the live-action shorts, often comedy (Laurel and Hardy, the Three Stooges) mixed with some closer to documentaries like the newsreel (pre-TV filmed events) and the travelogue (a film tour of world locales). With the advent of TV, most theatres stopped showing them and the major studios closed their divisions. The shorts then became the primary domain for independent filmmakers and continued to vie for Oscar nominations. Now, with the increasing streaming platforms and cable outlets, shorts are becoming more accessible now than in many years. Still, big screen programs, aside from film festivals, is a real rarity. With the Oscar ceremony just weeks away, film fans can indulge in a “cinema smorgasbord” and indulge in a buffet from three categories.

The most popular may be the films selected as Best Animated Short, though, like their live-action narrative brethren, most of these films share a theme, call it “parents and children”. Well, there one exception, of course, that would be the witty entry from the National Film Board of Canada (producer of many wonderful award-winning animated films for nearly 70 years) called “Animal Behavior”. Rendered in a magazine (New Yorker mainly) style, it looks at a group therapy session (chairs in a circle) for animals (a pig, a leech, a praying mantis, etc.) with a dog in charge trying to deal with a new member, an annoyed gorilla. The rest fit squarely in the “theme”, the best known being “Bao” which did run in theatres last Summer paired off with INCREDIBLES 2 (Pixar nearly always runs a short before each new feature). It’s a fable (the only one in the group told in rounded 3D CGI style) in which a lonely woman is stunned when a dumpling she has prepared for Dinner, suddenly springs to life. Naturally, she raises it as her child (a son), and we see them dealing with the whole maturing cycle from infant to teen. A very different look at parenting is shown in “Weekends” in which a grade-school aged boy lives with his harried single mom during the week and is picked up on Friday by his fun-loving pop and whisked away to his high-rise apartment/funhouse. There’s almost no dialogue and the art has a “scratchy” rendering looking like ballpoint pen scribblings in a school notebook. The program’s two highlights are “Once Small Step” which begins with a young Asian-American girl watching that famous newcast, fueling her dreams of exploring space. The dream is encouraged by her single dad who works below their home as a shoe repairman (hmmm, another fairy tale nod). Again no dialogue, but with slick multicolored outlined characters that seem right out of a polished children’s’ book. The parent/child roles are flipped in the final entry “Late Afternoon” which centers on an elderly woman enjoying her visit from a caregiver (but is she more than that). While the lady sips from her tea, each image around her triggers distant memories (running along the beach, writing in the sand,etc.) until her fog is lifted in the heartwrenching final moments. The art is a lively mix of simple line drawings, bright vibrant colors, and gorgeous watercolor-like backdrops. Each film has something to entertain and recommend (I’d have a tough time choosing if I were in the Academy).

For the Best Live Action Shorts, the previous theme is a twisted variation, you could say (with a nod to the classic Who rock anthem) “The Kids are Not All Right”. Indeed they are in dire, deadly danger in all but one entry. that one is the sweetly nostalgic “Marguerite”, Like “Late Afternoon”, it’s a French-Canadian tale of an elderly woman and her visiting caregiver/nurse. Their conversations sparks her mind to recall a forbidden, unrequited love from long. long ago, reminding us that the “good ole’ days” were not so “good” for so many. Now, on to the “rough stuff”. From the same land comes “Fauve” about a lazy day in the country (climbing an old train car. running around a construction site) turns into a race against doom for two pre-teen boys. Speaking of a “race to doom”, that sums up most of the Spanish entry “Madre”. As the title infers, the main subjects are mothers (yes, the plural). The main setting is an apartment where a woman and her mother pop in to bicker and change for Lunch. Things take a turn when the home owner’s six-year-old son makes a frantic phone call to her, which puts both mother and grandmother nearly into hysterics. Like the recent films LOCKE and THE GUILTY, the story is told via one part of the phone conversation (leaving us to imagine the caller’s dire straights just as the main characters). But where’s the USA, why represented by “Skin”, which centers on a young boy of eight or nine, the only son of a young couple who are, as said in LADY BIRD, from “the other side of the tracks”. Though they dote on the lad, we soon find out that the couple (the dad particularly) are violent racists. After a horrific attack ( a true hate crime), a “Tales From the Crypt”-like revenge plot is put into motion, resulting in an “O Henry” twist at first funny then whiplashing into true tragedy. The real standout of this batch comes from Ireland. “Detainment” is the controversial docudrama whose dialogue is directly taken from Police interview tapes of the two ten-year-old suspects in the infamous 1993 “Baby James” crime in Bootle, England. Though difficult to watch (I can’t imagine a full-length feature). the film hits with the impact of cinematic sledgehammer aided in great part by the two young lead actors: Ely Sloan as the emotional, terrified Jon and Leon Hughes as the cold calculating Robert. Never exploitive of the crime, the film is a testament to the police officers quest to learn the truth while having to deal with the parents , who were required to be on hand for the questioning (it’s quite the tightrope walk as they must navigate carefully). All of these films are compelling, even as the viewer is put through the “emotional ringer”.

Finally, the Best Documentary Shorts also share a theme (well four of the five) as they profile people battling against overwhelming forces, in short, “struggle”. Most unusual may be the entry from India, with a title ripe with many meanings, “Period. End of Sentence”. It begins with an overview of a subject not really discussed in that society: menstruation. Interviews bring home the lack of knowledge (it’s a mystery to most men on camera) and the problems facing young women. The film shifts gears as we meet a man determined to bring hygiene to the villages via sanitary pad vending machines by hiring local women to produce the pads and be traveling suppliers. It’s an engaging look at a culture that’s finally changing. The majority of this program comes from the USA. “Lifeboat” follows a German barge that helps rescue fleeing refugees at sea (many don’t survive on the makeshift rafts, barrels, and tubs). There’s a message of hope despite the near unending stream of desperate, nomadic peoples. Those rescue crews are heroes, as much as the staff of the Zen Hospice Project we meet in “End Game” as they ease terminal patients into their last days. We meet four or five of these residents, but the film’s heart may be with one that decides to stay in the hospital, in hope of new treatments. The intimate scenes of Mitra with her family (her husband and mother often clash) and doctors are quite moving. A brief (seven minutes) history lesson shines a light on a now unthinkable incident from 1939. “A Night at the Garden” documents (using black and white home-movie-like footage and audio recordings) a pro-Nazi rally attended by 20,000 in New York City (the title “Garden” is Madison Square). Though touted as a night celebrating “American patriotism”, there are lots of swastikas on stage (on both sides of Old Glory) to frame the speakers spewing anti-semitic rhetoric. Hatred is a big topic in the most compelling of the program, UK’s “Black Sheep”. In stark close-up, Cornelius Walker tells the story of his Nigerian family who moved from their London high rise apartment (after the high-profile murder there of a schoolboy from their homeland) to one of the”safer” remote villages. Walker relates his shock at the casual bigotry he faced, which led to a brutal beating by a local teen gang. With great emotion, Walker then tells us of his shocking response. Rather than retaliating, he believed that in order to survive he needed to join them, even bleaching his skin, spiking his hair, and wearing bright blue contact lenses. The tale is both compelling and heartbreaking, with Walker’s monologue illustrated with dream-like recreations. All five are engrossing while sharing a similar spirit among different times, locales, and subjects.

Any or all of these programs are well worth any film fan’s time.

The 2019 Oscar Nominated Short Films Programs are screening in the St. Louis area at Landmark’s Tivoli Theatre

THE JOURNEY- Review

The following review was originally posted on June 15, 2017. THE JOURNEY opens everywhere and screens exclusively in the St. Louis area at Landmark’s Plaza Frontenac Cinemas

 

 

Is it possible to whittle away at an “unmovable rock” in the political arena? Especially when there’s a 40 year history of bloody conflict forming an unbreakable shell around that formidable boulder? Well, how about forcing him into a trip with his enemy? That’s just what happens in this new film, in which its makers wish to be a “fly on the wall” during a remarkable day that changed the course of a country. It’s a “what if” look at a seminal time just 11 years ago when two opposing leaders try to find common ground during THE JOURNEY.

The year is 2006, and “the troubles” have rocked Ireland for over four decades. British Prime Minister Tony Blair (Toby Stephens) has organized a political conference dealing with the problems at an estate in Scotland. Unfortunately the opposing forces refuse to sit in the same room, let alone talk face to face. Then “Mother Nature” provides a opportunity. An incoming storm has forced the shut down of the local airport. The leader of the of the Democratic Unionist Party, the firebrand Protestant minister Ian Paisley (Timothy Spall) must take a plane to Glasgow in order to attend his big 50th wedding anniversary party. Luckily the Edinburgh airport is still open, but it’s 48 kilometers away. Paisley’s aides request a shuttle from Blair. But when the representatives of Northern Ireland’s Sinn Fein hear of this, former IRA leader Martin McGuinness (Colm Meaney) insists that he join Paisley, hoping to iron out their differences. Blair agrees, and lets a commander of MI-5, Harry Patterson (John Hurt), supervise the transport. A top of the line SUV, rigged with all manner of recording and transmitting devices, arrives complete with a driver named Jack (Freddie Highmore) who’s an undercover agent (getting his orders from Patterson via a Blutooth device) disguised as a “local” (complete with kilt). As they hit the highway, Martin and Jack try to prod the surly Ian into a conversation that can end the killings once and for all, since they may never get another chance.

Well, if you’re going to be part of a long road trip, it’s fortunate that three great actors are there for the ride. The most flamboyant character may be the quick-to-anger Paisley, given life and great energy by the always compelling Spall. With a ever-present sneer, or is it a scowl, Spall fully embodies the ultimate obstinate man (that immovable rock mentioned earlier). There’s no slow burn, but he shows us a slow realization that things must change and he’ll have to tone down his extreme rhetoric. But, the man at the pulpit is always on call as we witness in a funny scene at the gas pumps. Despite the guttural growl and dental prosthetics, Spall is quite effective. It helps that he’s teamed with an equally terrific sparring partner in Meaney. His Martin struggles to find the right way to get inside Ian’s head. Just when he seems to have broken through a door, Paisley congers a stronger wall. Meaney conveys the frustration and the fatigue. He’s spent most of his life fighting, and wants to put down the swords as he enters his golden years. But he’s still proud as Meaney gives us a master strategist who can bend, but refuses to break. As their driver Jack, Highmore does his best to think on his feet, struggling to follow Ian and Martin’s lead while appeasing the voice in his ear. He’s full of enthusiasm while navigating through a political minefield. Luckily the man in his ear is the much missed, late, great Hurt, who also seems weary, but is equally determined to end his long spy career with a big, big victory. Hurt is sad, but still doggedly optimistic in own of his final film performances.

For those with an interest in a history of the long conflict, this film will be an engaging look at its turning point. Luckily the producers have included lots of news footage and photos for those with a fleeting knowledge of “the troubles”. Unfortunately several scenes like the forest encounter and the walk through the docks seem contrived, only inserted so the two men can leave the van . Could the script have originally been intended for the stage? As with many translations of plays to film, the producers feel a great need to “open things up”, to make things more “cinematic”. It’s more than a bit distracting, making the hour or so airport ride feel much longer (a true pacing problem). The fine acting deserves a better showcase, but the film does give us an opportunity to see some superior work from some beloved performers, and for that, many movie goers will be happy to have embarked on THE JOURNEY.

3 Out of 5