Archive for the ‘Ireland’ Category

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There is a temptation to write Room off before even reaching for the door handle. It’s easy to dismiss a lot of modern literature, particularly the ‘literary sensations’, as high concept but ultimately quite shallow, lacking the richness and complexity of their predecessors. However, we have to put our prejudices to one side for now and admit that Room is perhaps one sensation that really deserves the hype.

Author Emma Donoghue adapts her own bestseller while Lenny Abrahamson, most recently known for the film Frank, takes on directing duties. Room is one those films where it’s best to know as little as possible, which is how I went in. We are immediately introduced into the ‘room’, a tiny, cramped space with only one skylight and a heavily secured, code protected door. The inhabitants of the room are Ma (Brie Larson) and Jack (Jacob Tremblay), a mother and son combo locked in limbo with no way out.

The enforced isolation has clearly taken its toll on Ma, her eyes orbited by heavy rings and her tatty sportswear ghosting about her. She makes pains to see that Jack is still educated into the ways of the world; motherly lessons of cake baking and stories. One of the most interesting aspects of the film is the way in which Jack has become institutionalised into the ‘room’. It is his only home, his only way of life. The film has a wider point to say about how much place and environment affects us as human beings.

As the story takes a few (un-revealable) turns, it turns into something much more profound than the struggle to survive in the room. There is a startling scene around the midpoint, where the film changes completely. It will undoubtedly go down as one of the scenes of the year, a breathtaking, cathartic, edge-of-your-seat tour de force. But then we are left with the aftermath, after all the excitement.

This is supposedly the boring part, which Hollywood doesn’t like. There must be always be an active goal to chase heroically; a dastardly villain, a damsel in distress, a dog stuck up a tree. Instead, Donoghue and Abrahamson leave us with something much more interesting and indelible: reflection. I am reminded of some of the films of Claude Chabrol, ostensibly suspense thrillers, but when the excitement fades we are left with this strange, eerie aftermath. The villain has been caught but the consequences of the event are left to catch fire.

The film would crumble without the two superlative performances by Brie Larson and Jacob Tremblay. Ma is lucid, sharp, compassionate but drained, trying to make the best of a torturous situation in order to save her son. Tremblay, meanwhile, gives one of the best performances by a child actor you will ever see. The emotional complexities of a boy torn between the only world he knows and the world that his mother tells him is out there for him, is perfectly embodied by young Tremblay.

Donoghue succeeds in turning her own work into a piece of cinema, which is no mean feat. Her initial idea had the potential to be quite gimmicky, but Donoghue transforms it into something much more universal and pertinent. Lenny Abrahamson’s direction is delicate and unshowy, honing on the little details of the world that Jack sees and letting the audience see through the imaginative, hopeful eyes of a little boy.

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Forget about Frank Sidebottom: the comic alter-ego of The Freshies frontman Chris Sievey has no place here. Those old enough or with an inquisitive enough mind (and an internet connection) will remember the fairly chaotic comedian who was intentionally bad as a musician and even, some would argue, as a comedian. This would either lead to being charmed or appalled by his “act” but in essence, it was a piece of performance art, akin to the greatest of punk rock musicians.

Jon Ronson is the co-writer of Frank and was a real-life member of Sidebottom’s touring band in the 80’s. He remembered this time fondly in the memoir which inspired this film. And yet it’s probably best to do as little research as possible going in because crucially, the Frank here (portrayed by Michael Fassbender), despite wearing (almost) the same giant paper-mache head with it’s cartoon baby-blue, Betty Boop eyes, is never referred to as “Sidebottom”.

Frank is an odd film not because it’s as particularly psychedelic or kooky as it pertains to be, but because it’s co-writer has written himself all over the film without much thought for anyone else. While this film is supposed to be a celebration of Frank Sidebottom’s anarchic spirit, it in fact, plays out like an apology from a man one suspects still has his reservations about the real-life story (particularly when within subjugation of a film narrative.) This makes the film feel awkward to watch as while Frank is clearly modelled on Sievey, Ronson’s attempt to re-insert him into the disposable 21st century hipsterdom (by turning him into a Captain Beefheart or Daniel Johnston figure) seems very confused.

For it is the subtlety named main character Jon (Domhnall Gleeson) who takes up most of our time with the film, and this is the biggest problem. While I appreciate the narrative idea of keeping Frank, a possibly non-existent Michael Fassbender, an enigma, because that is largely what he was, Ronson and co-writer Peter Straughan (The Men Who Stare At Goats) can’t seem to make up their own minds about him; this gives the film a mightily unbalanced tone. It’s central relationship is every bit as infuriating as it is supposed to be, except with zero charm, which makes it a tough watch.

Jon is an office drone and aspiring musician, but is dull, hasn’t a creative bone in his body and worst of all, a weird sense of entitlement. Meanwhile Frank and his merry band are the complete antithesis to Jon’s childish and ill-thought aspirations. Consisting of the ridiculous Karen O impersonating Clara (Maggie Gyllenhaal) and an almost entirely absent French rhythm section (Carla Azar & Francois Civil), they make Pink Floyd style prog-rock which is no where near as interesting or as inspiring as the film wants it to be. Later alerting us to this, Jon compares Frank to Pink Floyd’s Syd Barrett as a similarly deranged yet talented performer however this merely highlight’s the band’s music as derivative.

If it wanted to be, Frank could be an interesting satire of the colliding of the worst indulgences of the British middle-class humdrum and true artistic spirit. However it doesn’t really commit to either. Jon is perhaps one of the most charmless leading characters I’ve witnessed for some time, with Gleeson apparently taking being insufferable literally, using the annoying trope of visualised social-media to communicate his misguidedness. While this is largely the point, we are encouraged to laugh at him; the complete lack of empathy destroys any chance of connection.

On the other side, the band are strangely quite boring. This completely undermines the film’s attempt to show that “making music for music’s sake is perfectly OK” because while they seem perfectly committed to making their (not actually that weird) music, the rest of the time all they seem to do is sit around and look a bit mopey. This suggests that Ronson doesn’t really understand the concept of “artists” and mistakes it for being “a bit wacky” or as is revealed to us, “with emotional and mental problems” because, Frank especially, is so easily talked into wanting to find a larger audience. It seems fairly counter-intuitive to blame a musician’s desire to “just make music” on his anxiety issues, as this isn’t what came across from the act that it’s inspired by.

It’s unfortunate, because there is a good film rattling around inside desperate to get out; much like the person contained in that oversized mask. Director Lenny Abrahamson (What Richard Did, Adam & Paul) makes the best of a confused assignment with some nice stylistic choices; particularly in his Paris, Texas inspired cinematography and editing. At times the script isn’t completely without charm too, as the band manager (played by Scoot McNairy) provides some belly-laughs. However Frank’s bizarre tone leaves it feeling hollow; the broad humour, cartoony, one-dimensional characters, distractingly twee soundtrack and frenetic pace leaves no time to really connect with any of these characters. After a while one starts to build up a bit of a resistance to them. Finally it’s climax negates impact, and it’s shoe-horned emotional close feels cheesy.

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Back in 2012 we reviewed the low budget Irish horror The Railway Children, directed by Jason Figgis. Despite its tiny budget the film was an impressive piece of work that proved Figgis’ directing skill, with his large ensemble cast of young Irish talent.

Off the back of The Railway Children Figgis and his team at October Eleven Pictures and Teen Feature Film Project have developed another feature, entitled The Ecstasy of Isabel Mann. The film is a gritty, modern take on the vampire genre that looks like a timely step forward for Figgis’ team. The film’s promotional stills and video clips hint at a film that promises to be as sensational as it is disturbing.

October Eleven Pictures have just launched their Indiegogo campaign to raise $20,000 to complete post-production on the film (including the main edit, grading and sound mixing.) The money will also help them shoot a new and particularly complex sequence. Donations such as this are essential to independent productions like Isabel Mann and the team have a plethora of gifts for those generous people who donate.

To find out more about donating towards the production of this exciting piece of Irish horror filmmaking, take a look at the production’s Indiegogo page. You can also follow the progress of the project on the film’s official website. Finally take a look at Jason Figgis’ Indiegogo pitch video below:

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The Railway Children is a children’s story originally penned by Edith Nesbit in 1905. The tale tells of a group of children who lose their farther to false imprisonment, having been accused by the British government of selling secret information to the Russians.

Jason Figgis’ horror film takes its name from Nesbit’s novel and the plot bares a similarity to the original book in that it concerns another set of parentless children. However, there are no railways in sight, just dilapidated houses and bleak Irish landscapes.

The girls at the centre of the story are Evie (Catherine Wrigglesworth) and Fran (Emily Forster), two sisters attempting to survive alone, following the demise of their parents to a pandemic affecting only adults. They hop to and from abandoned homes in search of food and shelter, reading Edith Nesbit’s story to each other as they go.

As the girls progress on their travels they meet a wider ensemble of young people like themselves. The lack of adult guidance has effected the characters they encounter differently, gradually exposing the girls to a deepening vision of horror.

Perhaps because of its shoestring budget (a mere €500), this is a horror film that foregoes many of the more visceral generic conventions. The film plays as a series of extended scenes with characters locked in relentless conflict, built out of the dialogue. As Figgis successfully increases the stakes, the drama (derived more from melodrama, than horror) becomes increasingly engaging.

In common with the shooting style of realist filmmakers, such as Ken Loach, Figgis chose to shoot The Railway Children in chronological order; this method helped the young actors comprehend their character archs. The approach affords the film an unexpected grounding in realism, which appeases the low budget constraints of the production.

This is not to say that The Railway Childen is completely without horror. Figgis splices visceral flashbacks of the traumatic past into dialogue scenes, to present the characters’ horrific memories. The performances by the adult cast in these scenes are particularly bold.

The problem with this method though is that Evie and Fran rarely encounter any threat or horror in the immediate tense; this diminishes the opportunity for real suspense. The low key digital cinematography also limits the emotional impact of the film’s imagery, which had strong potential given the remote shooting locales.

In spite of its low budget trappings however, The Railway Children offers something unexpectedly fresh for a modern horror. The film introduces a young ensemble of Irish talent and gives them some real dramatic material to work with. Some genre fans may be put off that The Railway Children is more melodrama than horror, but this is a blessing in disguise, as the film’s impact cuts far deeper as a result.

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