DVD Review: A Doctor’s Sword


June Butler unsheathes the DVD of A Doctor’s Sword, Gary Lennon’s documentary  about Aidan MacCarthy, an Irish doctor, who, at 28, joined the RAF in London as the 2nd World war began.


Ensconced in MacCarthy’s bar in Castletownbere, Co. Cork, hangs a Samurai sword with still razor sharp edges and evidence of it being a working weapon. Such blades were far more than merely a form of defence – they were used as proof of filial devotion and a sign of dynastic honour – once holding great meaning for the person who previously possessed it. Carefully contained inside the worn handle, ashes of ancient warriors lie in state. The sword is accompanied with photographic evidence of its former owner – 2nd Lieutenant Isao Kusono. On the reverse side of the image is a profound declaration of true friendship between Lieutenant Kusono and Dr Aidan MacCarthy, a survivor of the Nagaski bombing and prisoner of war,interned in two separate Japanese camps during the Second World War.

The story of Dr Aidan MacCarthy related in great detail by director Gary Lennon is one that would have even the most hardened of cynics accepting of MacCarthy’s greatness. In this poignant tale, lies the narrative of a medical doctor who truly merited the Hippocratic Oath of ‘first do no harm’ despite the many injustices he himself received.

One of ten children, MacCarthy was born in 1914 to a middle class family and attended Clongowes Wood secondary school as a border. Upon leaving Clongowes, a medical career beckoned and MacCarthy went to UCC where he graduated as a doctor in 1938. Jobs in his home town of Castletownbere were scarce so MacCarthy and a number of his classmates mooted heading to London where they might fare better. War was on the horizon and MacCarthy decided to join the armed forces – his choices lay between the RAF or the Royal Navy – an obliging dance-hall hostess flipped a coin and MacCarthy duly signed up for the RAF. He later claimed all medical checks and paperwork were done with such haste that following his enlistment, MacCarthy arrived back in the local bar before they opened their doors at eleven o clock.

What unfolds in this remarkable story is something far more than miraculous – MacCarthy was marooned for three days and nights at Dunkirk – survived and went on to receive the George Cross for bravery when his direct intervention saved the crew of a crash-landed Spitfire. He was captured in the Japanese attack on Singapore and from there, spent three arduous years in a prisoner of war camp. First in Java, later in Nagasaki. Despite horrendous abuse and torture meted out to those captured by the Japanese, MacCarthy rose above his experiences to emerge a forgiving and empathetic figure having never lost his faith in humanity nor his ability to absolve the actions of others. Of even greater inspiration is the sword that takes pride of place among MacCarthy’s possessions and how it came to be located in a small bar in rural Ireland.

Lennon deals sensitively with the issues surrounding MacCarthy’s incarceration and follows his daughter, Nicola, as she journeys to Japan in search of the history behind the sword. It is clear that this topic is one of great interest to Lennon given that no stone is left unturned in the telling of a truly amazing story. Archive radio interviews with MacCarthy were unearthed in the course of making this film and it is heart-warming to hear his rural burr and kindly tones as his story is relayed without the slightest hint of rancour.

On being asked by the interviewer what he put down his survival to, MacCarthy deftly responded saying that it was “a combination of my Irish Catholic Heritage, my family background, and lots and lots of luck”.


  • Directors: Gary Lennon
  • Producers: Gary Lennon Bob Jackson
  • Format: DVD-Video
  • Language: English
  • Region: All Regions
  • Number of discs: 1
  • Classification: Exempt
  • Studio: Wildcard Distribution
  • Run Time: 70.00 minutes


A Doctor’s Sword can be purchased on DVD in stores including Golden Discs and Tower Records, the Triskel Arts Centre in Cork and the Irish Film Institute in Dublin, MacCarthy’s Bar in Castletownbere and also online on Amazon and the Wildcard Distribution website.



DVD Review: In A House That Ceased To Be



Dee O’Donoghue takes a look at Ciarín Scott’s documentary which follows the Irish humanitarian and children’s rights activist, Christina Noble.

A musical tale of tragic proportions, when Christina Noble was dubbed ‘The real Miss Saigon’ by The Sunday People newspaper in 1990, the world’s media decisively took note and the children’s rights activist finally received the media exposure she desperately sought to accentuate the plight of indigent children in Vietnam. Ciarín Scott’s affecting film, In A House That Ceased To Be, documents Noble’s astonishingly complex biography, from the slums of Dublin’s inner city to the establishment of over one hundred child rescue projects through her Christina Noble Children’s Foundation, via her own traumatic journey of physical and emotional abuse. Borne from a dream, Noble’s unwavering determination to penetrate the cycle of child poverty, victimization and sexual exploitation in far-flung countries such as Vietnam and Mongolia through healthcare, education and community development, achieved the impossible for the Irish crusader whose own horrifying childhood mirrored those she sought to rescue, locating her as one of the most important global children’s charity campaigners of recent times.

Tracing Noble on the ground in Vietnam and Mongolia, Scott’s portrait of Christina at work exposes the sheer desperation of its innumerable forgotten children, where thousands upon thousands bed down in city sewers and manholes in up to minus 40 degree conditions, many deformed with irremediable illness or many simply needing comfort and love, owing to a culture of child invisibility in the world’s developing countries. Although a haunting reflection upon humanity’s shame in its treatment of those it should be safeguarding, the most compelling aspect of Scott’s documentary lies in a narrative that becomes greater than an appraisal of Noble’s steely commitment to expunge child oppression in remote Asian countries, demonstrating that suffering is not exclusive to adventitious lands. The film equally becomes a staunch polemic on the Irish State and Catholic Church, as Noble and her siblings became some of the untold victims of institutional abuse prevalent in 1950s Ireland.

Although Noble’s activism was inspired by a dream on the Vietnam War, it becomes evident that her indelible motivation is her own fraught biography, deluged with fear since her mother’s death at the age of ten and the ensuing separation from her siblings and detached, alcoholic father into disparate orphanages around the country, each informed the other was dead. As with many Irish narratives of the era, Noble’s experience was written into the scaffolding of a culture of abuse at the hands of those in systematic power, her only means of solace to sing pop songs to herself, fuelling her spirit, compelling her to survive against those who profoundly failed her. The unavoidable probing into Noble’s own personal trauma becomes a trauma in itself as she struggles to articulate the level of abuse she experienced in a West of Ireland orphanage. Compassion and warmth sit alongside explosive anger and scathing vitriol at the supposed beacons of Irish light and hope, who repeatedly failed countless of children in their care, a stain all too familiar in Ireland’s relationship with its historic institutions, asylums and orphanages.

It is the unspoken narrative that lies beneath Noble’s unresolved rage that becomes as equally distressing as the graphic images of child torment in foreign lands. As with the ever-familiar tactic of Ireland’s ability to sweep its shameful stains under the carpet, so too does Noble’s censor her own profile, her anger speaking volumes, her vivid recollections refusing to fade with time. A passionate, gregarious and outspoken woman rendered speechless, unable to give voice to her adversities, her adulthood clearly shaped and steered by anxieties she is unable or unwilling to release, surmised by her sister as a ‘demolition of our life, a demotion of our home, a dismantling of our togetherness’.

While Noble, the child saviour, finds great catharsis in rescuing the destitute from perilous conditions and infusing their young lives with hope, it is the tacit reflection of her own scarred history, including gang-rape and enforced adoption of her baby son by the Church that becomes more vivid as it unfolds through her charitable actions towards those who endured similar fates. It is what is seen rather than what is said that is most illustrative in Scott’s film, achieving a highly emotive balance between the comfort and deep empathy Noble radiates for her Asian children and the outrage and torment she endures at her own violated self, not only compelling Asian countries to inwardly reflect on its reprehensible neglect but also confronting Ireland with its own ignominious history and the treatment of its young, necessitous citizens.

Taking the film’s title from the popular Dublin song, ‘The Rare Ould Times’, Ciarín Scott’s portrait of Christina Noble fuses a past with a present that is both contemptible and hopeful.  It is not only a compelling, heart-wrenching and contradictory account of a forceful, yet fragile woman’s biography but equally of the nation she was born into and its disturbing legacy of child institutional abuse. Christina Noble may have all the love, songs and words in the world for children in need but her anger, emotional fragility and silence towards her own unresolved past becomes just as torturous as the suffering of the underprivileged children she is saving. It is an extremely important account, not only in its recognition and celebration of a lowly Dublin girl from the slums who achieved global acclaim for her charitable activism but also in its highly significant reflection upon Ireland’s unsettling history and those in power who helped shape its trajectory and maintained the cycle of child oppression.



Available for rent or purchase now and is also available to stream or download in Ireland from Volta.ie


  • Director: Ciarín Scott
  • Producers: Rex Bloomstein, Paul Duane, Ciarín Scott
  • Format: PAL
  • Region: Region 2
  • Number of discs: 1
  • Classification: 15A
  • Studio: Element Pictures Distribution
  • DVD Release Date: 6 Nov 2015

  Run Time:  91 minutes












DVD Review: Song of the Sea




Ellen Murray reviews Song of the Sea, “a breath of fresh air in a market that is continually being crammed with commercial-driven, sub-par content.”

If the fact that it was nominated for an Academy Award was not enough to tempt you to see Cartoon Saloon’s stunning Song of the Sea in cinemas, then you now have the chance to view it in the comfort of your own living room. A suitably strong follow-up to the studio’s 2009 work The Secret of Kells, the film follows the story of two siblings, Ben and Saoirse, as they discover a magical world of selkies and faeries on the brink of extinction, all the while trying to uncover the truth about their mother’s mysterious disappearance on the night of Saoirse’s birth.

Director Tomm Moore deftly guides the film, balancing the whimsy and drama so that neither is undermined by the other. For all the mythological elements present in the story, the film also takes time out to examine the hard realities of loss, grief, and broken families- but, like all good family films, it is never ham-fisted and offers no easy answers. In traditional Cartoon Saloon style, the flat, picture-book backgrounds of the film lends it an air of surprising depth missing from most mainstream animation today. At times, the animation reaches moments of such dazzling beauty that it becomes worth taking a timeout to pause the film and just gaze at the image before you. The superb animation is further aided by the commendable voice performances provided by the cast. Moone Boy’s David Rawle as Ben and Brendan Gleeson as the children’s grieving father, Conor, shine in particular.

The DVD contains a couple of extras, including a segment on the art of the film, clips of animation tests and, of course, audio commentary from director Tomm Moore. It would have been interesting to hear from others who worked on the production, which was split between animation studios in five different countries, but Moore provides such an engaging in-depth look into the background of the production that he alone is sufficient.

A wonderful film for families, and for lovers of animation, Song of the Sea is a breath of fresh air in a market that is continually being crammed with commercial-driven, sub-par content.


Available for rent or purchase now.


  • Directors: Tomm Moore
  • Producers: Tomm Moore, Paul Young, Claus Toksvig Kjaer
  • Format: PAL
  • Region: Region 2
  • Number of discs: 1
  • Classification: PG
  • Studio: Studiocanal
  • DVD Release Date: 9 Nov. 2015
  • Run Time: 94 minutes



DVD Review: The Thief of Baghdad (1924)


The Thief of Baghdad (1924)

Director: Raoul Wash

Cast: Douglas Fairbanks, Snitz Edwards, Charles Belcher


Alan Shalvey checks out the Eureka! Entertainment release of The Thief of Baghdad, a glittering Arabian Nights adventure fantasy, in a Dual Format (Blu-ray & DVD) edition as part of their award-winning The Masters of Cinema Series.

The Thief of Baghdad, featuring one of Douglas Fairbanks most enduring performances as the title character, has recently been remastered and released by Eureka’s ‘The Masters of Cinema’ series. Specialising particularly in remastering films from the silent era, this edition of the 1924 classic is a sight to behold, and beautiful to look at. Having been remade in 1940, and with both films regarded as classics by critics, The Thief of Baghdad is one of those rare exceptions in cinema where a film and its remake are held in equally high esteem.

Based on the legendary collection of stories, ‘One Thousand and one Arabian Nights’, the story follows the thief Ahmed’s journey from a petty thief to winning the hand of the local princess after proving himself worthy of royalty. However, he must contend with Cham Shang, Prince of the Monguls, The Prince of the Indies and The Prince of Persia. When the princess chooses Ahmed, and his way of life is revealed, though, there is uproar, and the men must find a valuable item to win her favour, though Shang plans to take Baghdad by force regardless.

The Thief of Baghdad has come to be recognised as one of the classics of American cinema’s silent era, and it is easy to see why. In June 2008, the American Film Institute named it ninth on their list of the ten greatest fantasy films in American cinema history. The film is quite long for its time, running almost two and a half hours long. Nonetheless, the time flies, as the sweeping spectacle, fantastic score, and Fairbanks energetic lead performance all combine to keep the audience engrossed for the full journey.

The film is masterful in almost all aspects. However, the props, sets, and action scenes are the aspects which truly stand out from the rest of the film’s attributes. One of the most expensive films of the decade, Fairbanks (who played a large role in the film’s artistic direction) left no stone unturned in his quest to bring Baghdad to life. The sets throughout the film are nothing short of spectacular and, combined with the score, makes the audience feel like it is fully immersed in this authentic world.

The action sequences are also of particular note. In fact, considering the direction Hollywood blockbusters have taken in recent decades, it is arguable that this film, in terms of the directing and cinematography used in the action sequences, is one of the most important films of its era. One scene which is particularly noteworthy is the penultimate scene in which, having been told Baghdad is under siege by the army Cham Shang snuck into the city, Ahmed returns to fill the role of unlikely saviour to the city. The shots in which the camera pans across as Ahmed summons a vast army using the magic powder he acquired are nothing short of exemplary filmmaking. It is easy to see the influence this scene has had on countless films, such as The Lord of the Rings and many other films with wide shots of enormous armies.

Overall, the film is one of American cinema’s endearing classics, having had a profound effect on cinema, which has become ever clearer in recent times, with the production of large-scale battle scenes similar to those seen in the film. ‘The Masters of Cinema’ has, on its 90th anniversary, presented the film perfectly to a modern audience, with an excellent documentary ‘Fairbanks and Fantasy’ included on the DVD disc. For any fan wishing to witness the joys of this or, indeed, any film from the silent era, ‘The Masters of Cinema’ leaves all other competitors in the dust in terms of their remastering and incredible volume of extra material.




  • New high-definition 1080p presentation of the film on the Blu-ray
  • Audio commentary by Fairbanks biographer Jeffrey Vance
  • 40-PAGE BOOKLET including new and exclusive writing on Douglas Fairbanks and Raoul Walsh


DVD Review: Diary of a Lost Girl




Ellen Murray checks out the Eureka! Entertainment edition of G. W. Pabst’s masterwork of German silent cinema, Diary of a Lost Girl, released as part of their Masters of Cinema Series. 


The release of The Jazz Singer in 1922 was the beginning of the end for the silent film era. By the end of the decade virtually all mainstream releases were sound films, or ‘talkies’. Though the technology had yet to be perfected and some of the recorded dialogue sounded stilted, the novelty of hearing actors talk on screen drew in too many viewers for film producers to ignore. G.W Pabst’s Diary of a Lost Girl (1929), made in the twilight of its genres popularity, stands today as a monument to the best silent film had to offer.

The story begins with the young and innocent Thymian Henning (Brooks) on the day of her confirmation. The happy occasion is marred however by the departure of the family’s housekeeper, Elisabeth (Schmitz), who has become pregnant after having an affair with Thymian’s pharmacist father. In a desperate attempt to better understand the situation Thymian turns to her father’s assistant, Meinert (Rasp), who claims to have all the answers. In actuality, Meintert uses this opportunity to seduce the poor girl and she subsequently gives birth to an illegitimate child. After refusing to marry Meinert on the account that she does not love him, Thymian finds herself in a backwards reformatory for ‘fallen women’ which is ruled with an iron fist by a tyrannical woman (Gert) and her equally as bad assistant (Engelmann). Escaping the horrible institution, Thymian finds herself enveloped on a life of prostitution and debauchery. One twist of fate after another ultimately leads our protagonist down a road that will test both her character and emotional endurance.

On paper, the film reads like a Dicken-esque tale of the fallen woman and Christian redemption. In reality, Pabst handles his material in a surprisingly nuanced and sophisticated manner. Moments of great melodrama are still sprinkled throughout but there’s a distinct lack of the black and white morals that dominated other films of the era. Rather, the director takes time convey to the audience the fuzzy greyness that defines human existence. In this, Pabst is greatly aided by Louise Brooks’ magnetic performance. The lack of dialogue in silent films meant actors of the time were prone to using overt facial and bodily expressions to portray emotion. Brooks does not fall into this category, appreciating that subtly can still get across big emotions. In place of words, Brooks uses her eyes. Thymian is certainly a victim of circumstance but she is no weakling. There’s a quiet strength to Brooks’ character that makes us believe that she is capable of surviving anything that is thrown at her. No swooning for this lady!

Considering the time period in which it was made the film also puts forward a very progressive message regarding society’s treatment of so-called ‘fallen women’. All our sympathy lies entirely with Thymian and her fellow inmates at the reformatory. In contrast, the reformatory’s overseers are presented as sadistically cruel and wholly unlikeable. The hypocrisy of the bourgeoisie, who happily turn away any girl unfortunate enough to find herself pregnant and unmarried but willingly turn a blind eye on the married men who put them in that position, is also highlighted. Female sexuality is nothing to be feared here; rather society’s attitude towards it is the problem. Today’s mainstream Hollywood could learn something from the film.

They say great art never dies and this film is a perfect example of that. As engaging now as it was when it was first released, Diary of a Lost Girl marked the end of the silent era in a blaze of filmic glory.


Diary of a Lost Girl is released in a Dual Format (Blu-ray & DVD) edition as part of their award-winning The Masters of Cinema Series on 24th November 2014.



DVD Review: The Hobbit:The Desolation of Smaug


Ciara O’Brien gets her hands on the precious DVD of The Hobbit:The Desolation of Smaug.

The second instalment of Peter Jackson’s Hobbit trilogy; The Desolation of Smaug is now available on DVD and Blu-Ray in various editions. Here we will be discussing the standard DVD edition.

The story picks up where the previous left off, and we follow Bilbo Baggins on his infamous adventure to assist in the reclaiming of the dwarven homeland. Having found (or stolen, depending on who you ask) the infamous ring of power, Bilbo now seems more willing to embark on the adventure ahead of him, despite the mocking of his band of merry dwarves.

Unfortunately for the now semi-cheerful Bilbo (masterfully played by Martin Freeman), he manages to do the one thing he hoped not to. He wakes the beast. Smaug is the infamous dragon fans have been waiting for and Freeman’s BFF Benedict Cumberbatch does not disappoint, playing the beast with equal parts menace and humour. It is Smaug’s evident intelligence which makes him all the more fearsome and the scenes featuring both Bilbo and Smaug are some of the best that have come from the prequel franchise.

The Desolation of Smaug sees Jackson use more artistic licence to present moments that he feels his viewers will love, being a fan himself. Jackson just about manages to steer clear of over-simplifying the text here, but at points he does come close. Jackson respects his audience enough to know that they can tell the inherent differences necessary in working with the medium of film as opposed to book, but he also knows not to push his viewer too far. It is a delicate balancing act at which he has become adept.

Unfortunately for Orlando Bloom, the appearance of Legolas doesn’t quite inspire the joy and delight that Jackson might have expected, and this moment falls a bit flat. The issue is that Jackson doesn’t need to remind us of the Lord of the Rings trilogy, he merely needs to focus entirely on The Hobbit as a standalone text.

  • Format: PAL, Subtitled
  • Language: English
  • Subtitles: English, Italian
  • Region: Region 2
  • Aspect Ratio: 16:9 – 2.40:1
  • Number of discs: 1
  • Classification: 12
  • Studio: Warner Home Video
  • DVD Release Date: 7th April 2014
  • Run Time: 155 minutes

The standard DVD edition is something of a disappointment for fans as it is very light on special features, having only the second part of the New Zealand: Home of Middle Earth documentary. This is interesting viewing for fans as we can witness the transformation of the landscape into one we immediately recognise as Middle Earth, but compared to the plethora of features that came with the Lord of the Rings DVDs, it seems inherently disappointing.

It’s hard to have patience these days, but die-hard fans of the franchise are as always advised to wait until all movies are released in a box set of inevitably epic, lengthy proportions, with more special features than you could watch in one sitting.

Like Bilbo himself, we might not initially be too keen on running off on an adventure, but thankfully this allows us to follow his from the comfort of our own couches, where the dragon population is significantly lower.

Ciara O’Brien


DVD Review: Quirke

Quirke 2D Pack Shot


Cathy Butler checks out this Dublin Noir, out now on DVD.


Dublin’s urban landscape seems to move between shades of grey rather than ‘noir’, but aspects of the drab and foggy streets of 1950’s Dublin lend themselves rather well to the genre in BBC’s crime noir thriller Quirke, based on the novels released under John Banville’s crime genre pen-name, Benjamin Black. The three part mini-series is now available on DVD, shortly after ending its run on RTE.


Gabriel Byrne plays the eponymous Quirke, (first name unknown, Inspector Morse style) a pathologist with a troubled past and a drink problem. He has a rocky relationship with his adoptive brother Mal Griffin (Nick Dunning), a doctor who works in the same hospital as Quirke, and a history with Malachy’s American wife Sarah (Geraldine Somerville). His 20-year-old niece, Phoebe (Aisling Franciosi), adores him a little too much, much to the chagrin of her father, Mal.


The series opens with the peculiar circumstances surrounding the death a young, unmarried woman named Christine Falls, whose death certificate Quirke discovers Mal tampering with in his office. Mal has listed the death as due to pulmonary embolism, yet Quirke’s autopsy suggests she may have died giving birth. As his own family is now implicated in an apparent cover-up of something that would have been scandalous in that era, Quirke must try to get to the bottom of the young woman’s death and deal with repercussions.


Thematically, the show hits on some of the likely subjects that such a period in Irish history would feature – the iron rule of the Catholic Church, Magdalene Laundries, unmarried mothers – while some are glossed over. The first episode is quite rigorously anti-Catholic, the various religious figures exuding caricaturish villainy as they discuss their underhand plans or obfuscate the dark truth from those who would seek to expose it. This is understandable given Ireland’s religious history, but somewhat heavy-handed nonetheless.


On the other hand it is difficult not to question the abundance of upper class people who feature in the narrative. Perhaps the various cultural representations of early to mid-20th century Ireland have been so populated by poverty and the working class that a representation of such a time featuring mostly wealthy and privileged people seems lacking in credibility or plausibility. The ease with which some of the main players hop back and forth to America seems a stretch, as this was at a time when ‘American Wakes’ were being held for those who emigrated as the cost of travel likely meant that most Irish emigrants would never see their families again. Perhaps this shows how far removed the likes of the Griffins were from most people in the country at the time, rather than being an oversight or narrative convenience.


The series features some striking visuals, with excellent use of colour – or lack thereof. In episode one,  as Quirke bumps into Sarah outside his house, Sarah’s clothes and hair are rendered in full colour against the grey background of the street behind her, in almost a Pleasantville-effect style. Similar effects used when Quirke is spending time with Phoebe seem to suggest that from Quirke’s perspective these two women are the brightest aspects of his life, being otherwise constantly surrounded by dead bodies and Dublin’s grey streets.


The noir-ish elements are strong throughout, with some differences. The plot is slower paced, often more concerned with Quirke’s own story than the fate of the unfortunate women. Each episode sees another young, beautiful woman dead or murdered. This trope does grow tiresome, not just in this particular production but in countless crime novels and television shows. The endurance of this trope and audience and reader appetites for it seem to suggest that it is easier to feel sorry for a beautiful young woman who gets murdered than, say, an ugly man. In Quirke, as with much other crime narrative, man must mete out justice for the poor ‘fallen women’. The idea is reinforced thematically and narratively; to ‘fall’ pregnant, a fallen woman, Christine Falls. Looked at in this way, the much used trope is effective as a tool to highlight the position of women in Irish society of the time.


Performance wise, Byrne fits the bill as the brooding alcoholic with a dark past. Geraldine Somerville is standout as Sarah, managing to convey in one character the woman Sarah has become due to the choices she made in her youth, as well as that girl she was when she first fell for Quirke. Somerville meshes these girlish and mature aspects of Sarah together with great artistry, making her quite compelling to watch. Stanley Townsend is a scene-stealer as the sardonic Inspector Hackett, always having time for tea and a cigarette, and an occasional ally to Quirke’s endeavours. Hackett is possibly one of the most likeable characters, my only complaint being he wasn’t featured prominently enough.


All things considered, Quirke makes up with its strong visuals and capable cast what it is lacking in its narrative. If anyone has ever wondered what ‘Dublin Noir’ would look like, Quirke would hit pretty close to the mark. A certainly unique and interesting take on the genre.


With a combined running time of 270 minutes, the double disc  of Quirke is available to buy on DVD from 7th March from select stores nationwide, including: Tesco, HMV, Xtra-vision, Golden Discs and Tower Records (Dublin).

Quirke DVD is also available to buy online from www.elementpictures.ie/shop







… Halloween. Arghhhh – Screen Screams. Memories of Horror


Alien – Peter White

In space no one can hear you scream. I can say that over and over and it never loses its power. Much like the film itself, Alien‘s tagline is hypnotic, terrifying and utterly memorable. Sitting down to watch this bona fide classic again this week, I struggled to approach it with anything but wide-eyed wonder. I had to remind myself that Sigourney Weaver’s character, Ripley, hasn’t always been around. That in 1979 people sat down to watch this film and fully expected the ship’s captain Dallas (Tom Skerritt), with his roguish good looks and manly beard, to save the helpless lady astronauts. Despite my best efforts I couldn’t remove the facehugger from my psyche or the residue of the exploding-chest xenomorph which coated Alien‘s innards all over the face of modern cinema.

Having discarded my attempts at an unbiased reading of Alien, I settled in with the crew of the Nostromo and we screamed our silent screams together. What struck me over and over was how well the visual design of Alien has held up. For a modest budget of $11 million, Ridley Scott and his crew created an environment which remains absolutely believable today. The sets for the interior of the spaceship have a solidity to them which computer effects and green screens fall far short of today. The familiarity of the Nostromo’s design with its recognisable cockpit and mess room amidst airlocks and hibernation stations adds enormously to the film’s believability; fuelling the terror of the whole messy situation.

As impressive as the set design is, the iconic design of the film’s titular enemy remains Alien’s strongest asset. The perfection of the xenomorph’s biology combined with its demonic appearance makes it one of cinema’s greatest creations. Watching the ship’s crew initially chase the creature with a net is, from our vantage point thirty years later, sadistically hilarious. How quickly they run out of ideas and go from hunter to hunted, being outsmarted at every turn, is terrifying and testament to the dazzling design of the alien.

While the alien does indeed look like a man in a suit when we see it briefly in its entirety, I would still take this over the more recent swimming, computer-animated incarnations. The animatronic close-ups of the alien have lost none of their impact. Similarly, the face-hugger remains skin-crawlingly effective. Watching it tighten it’s grip when the crew attempt to remove it from John Hurt’s face before it bleeds acid through the floor is as much nightmare territory now as it would have been thirty years ago.

To appreciate Alien is to appreciate cinema. While it is an excellent story in its own right, it is the design of Alien which makes it so memorable. It has lost none of its aesthetic pleasure and still looks more realistic than most special effects oriented films today. For a sci-fi film to retain its impact after so many years places Alien within a very exclusive echelon of cinema. Treat yourself this Hallowe’en to a face-hugging film you won’t soon forget.


Carrie – Sarah Griffin

It’s one of those films that everyone thinks that they know – so embedded in our collective consciousness that even those who have never seen it feel as though they have. Carrie emerged from a hive of creativity and innovation in 1970s Hollywood, where directors were defying boundaries and making waves in every genre, blowing apart preconceptions of what a movie should be. No other horror movie is so lovingly rendered and artfully shot, and very few shlockers manage to cross the barrier and impress the Academy with its skills. Echoes of Carrie still ripple through horror movies today, as the formula of sympathetic terror is often copied but never equalled in its nuances – and there is no greater compliment to the prescient status of its iconography that it has remained a benchmark for the psychological horror.

What terrifies and enthrals about Carrie is the slow pace – the loving introduction of its main character, and her terrible life. The persistent bullying and aggression, followed by her mother’s religious freak-outs, are all underscored by Sissy Spacek’s soft-voiced, sad and lonely Carrie. She is a fully rounded psychologically realistic character – a rarity as a horror film antagonist – and within moments, our sympathies are fully with her. In fact, our compassion is so closely contained in Spacek’s unprepossessing portrayal of this little girl that as the climax excruciatingly builds, we almost wish the apocalypse upon these townsfolk. When that iconic pigs blood begins to pour, we yearn for the flames and carnage – vicariously cheering on Carrie’s revenge, then breaking down alongside her in terror and fear at her (and our) horrifying actions.

Perhaps my viewing of Carrie is coloured by being a girl, and having seen the movie post-puberty…when her craziness seems just that little bit more understandable. There is a nagging feeling throughout that, though her emotions are exaggerated and accompanied by telekinetic power, there was a touch of kinship in this movie relationship. And perhaps even a moment of vindication and relief…the vicarious living out of puberty fantasy, where the boiling emotions inside could result in flipping over a car or burning down the school!

Again though, the film’s director Brian De Palma – in a career kick-starter – defies our cheering dualism. Carrie is still lost and terrified, and after her cathartic high-school revenge, returns to her state of confusion and horror. She is no devil, despite her mother’s fanaticism, and wants only to be loved. Her tragic avowal of this is her inability to continue living with what she has done – the revenge now seemed outside of herself, and beyond her control. When she returns home to her mother, seeking reassurances and some semblance of love, she is greeted with the biggest betrayal of all…and her emotional collapse at this final insanity is so painful to watch that it bleeds onscreen. But at its centre, under the complex psychologies and emotional rendering, Carrie is still a horror movie – and its beating heart is terror. Carrie might be sympathetic, she might be understandable…but she is still a supernatural murderer, who wreaks a terrifying revenge. The prom-night massacre is no simple matter – she methodically locks the doors, and picks off her victims one by one as her eyes flash and the music soars. Spacek, covered in pig’s blood, stands compressed on the platform, electricity surging through her movements and fists clenched in concentration, slowly and gruesomely murdering her foes. And the final terror is yet to come – generations of movie-goers have still to discover that unbelievably horrific final jump. How I envy anybody who has never seen Carrie, who has yet to experience that moment of release as you think it’s all over, before it delivers its final, terrifying, screaming, wake-you-up-sweating-in-the-middle-of-the-night punchline. If you’ve got a taste for terror, take Carrie to the prom!


Drag Me to Hell – Geoff McEvoy

I love the logo for Ghost House Pictures, one of the production companies behind Sam Raimi’s Drag Me to Hell: A skull jauntily bounces out of the screen with the company name written in ‘spooky’ letters. It’s great. Its retro style reminds me of the yellowed horror novels you see gathering dust in second-hand bookshops. But it also serves as a sort of mission statement, it promises a movie that will provide old school scares with a few knowing winks to the audience.

Of course this all came with hindsight. At the time I didn’t really settle in to the movie until about half an hour in. By that stage we’d already had some enjoyable, mild gross-out comedy when the elderly Mrs Ganush arrives at the sweet-natured Christine’s bank. Then there was an uproarious fight scene followed by a gypsy curse. Brilliant. But it was when the curse took effect and Christine’s home was attacked by a shadowy something that I realised I was in the hands of a master. I had laughed when he wanted me to laugh and now I was jumping when he wanted me to jump. It sounds simple I know and yet so many get that balance wrong. Sam Raimi gets it exactly right; the laughs enhance the scares without ever undermining them. After that I settled down and let the film carry me along safe in the knowledge that it wouldn’t disappoint.

It didn’t. It never misses a trick, the jokes are funny, the scares are scary and for two glorious hours Sam Raimi wrested control of the horror genre from crass remakers and torture pornographers and reminded us how it should be done. Oh, and it features the best use of a goat in motion picture history.


The Exorcist – Ciara O’Brien

Horror is not a genre of subtleties, it reflects the world it is created in, and it pulls no punches and whimpers no niceties about the era. Horror not only shocks its audience with what is on screen, but also with revelations about the world outside the doors of the cinema; it ain’t pretty, but somehow we always go back for more. Human suffering was the cinematic flavour of the day in the 1970s, with scandals piling upon scandals, no one was to be trusted. The Exorcist explores the subject in a manner that no film before or since has attained.

The Exorcist marked a turning point in cinema in many ways. After its 1973 release horror was no longer wholly associated with exciting Vincent Price chillers, but could now be a vicious assault on the audience. Many have taken the idea of audience and gotten carried away but few have succeeded in replicating the atmosphere of The Exorcist, which abuses its audience and yet leaves them wanting more. The film is a possession in and of itself as it both shows suffering onscreen and causes suffering amongst its audience, it remains one of few films which have caused fainting and hysterics in its audience, and one of even fewer to be so sought after that bus trips were arranged to see it during its UK ban. So what made The Exorcist so special? And why should we care now?

The Exorcist was the beginning of atmospheric horror, which remains the most profoundly affecting form of the genre. The set was cooled to below freezing in Reagan’s bedroom and whether we watch it in the depths of winter or the middle of summer, there’s a moment in which we believe that we have seen fog on our own breath.

The Exorcist can also be seen as the origin of character-driven horror. Until that moment it was rare to truly love the characters in a horror movie, but here we had an ensemble cast who captured the heart of an audience, and for me, that is the true genius of director William Friedkin and writer William Peter Blatty. The Exorcist marked the beginning of the end for pre-pubescent children in horror, it seems that one fear has transcended eras. There is nothing more frightening than a little girl, particularly if she’s not quite a little girl anymore. Since its release it’s impossible for an audience not to feel some level of suspicion as soon as little Timmy appears on screen, something that recent release Paranormal Activity 2 has utilised fully in advertising. So Reagan is verbally and physically aggressive throughout her possession, and we see very little of her prior to the possession, and yet somehow we love her, we feel her mother’s growing frustration, and we want her to be healed.

The reason for this is simple. As visually violent as The Exorcist is, it has remained on the right side of a very thin line. There is more character than pea soup, and everything stays just below that visual wasteland of ‘too much’. The ‘spider-walk’ sequence is an impressive, now over-used one, and Friedkin’s removal of the scene is necessary to retain some level of ambiguity. Whilst it is suggested that Reagan’s possession is real, it’s also suggested that it’s the result of mental illness, we will never really know, and the psychological impact of not knowing is what creates true terror and cements The Exorcist as the genre’s first bona-fide mainstream classic.

With this Halloween seeing the most violent audience assault we have seen in the shape of Saw 3D, it’s easy to lose sight of the origins and purpose of modern horror cinema. Each time The Exorcist is popped into a DVD player something special happens. When we lose sight of that little silver disc, we enter a world where the special effects of a long-lost era are still affecting, the characters remain dazzling. The first horror film to be nominated for an Academy Award®, The Exorcist is the horror genre’s greatest cinematic triumph.


The Fly – William O’Keefe

There is many a hardy soul immune to the gore and frights of horror; the classics may have become muted over time, through re-watching or over exposure, and contemporary horror can be as frightening as an Andrex puppy through predictability and reliance on gore. Away from the movie screen however and offer that same person a piece of chicken, left atop a kitchen counter and let them see for a moment that a fly has had a moment to perch on the chicken meat and do its worst – even in pangs of humour, the meat will be avoided. While there may be scientific fact and documented medical cases, there is the much more impactful warnings of our mothers of flies landing on food intent on planting eggs to gestate. This is not a pleasing prospect – food, riddled with the spawn of a matted black, winged buzzing insect with compound eyes. So, even with all the detachment you can afford yourself in watching a horror movie and assurances this could never happen, the events of The Fly; the literal erosion of Jeff Goldblum’s human body, and transformation and mutation to one that seems comprised of oozy, navy cream filling when splatted on a window will strike a pre-natural fear in you.

The Fly is uneasy to watch, though of course entirely watchable – it is a visceral story which hardly steps outside the doors of our ill-fated scientists lab and as with most stories there is a girl at its heart. Film, and in particular horror, is full of morphed characters, awakened to instinctive, primal urges, becoming heightened versions of their former selves and most often maniacally violent. Everyone from Harvey Dent to Tweety Bird has had some evil unleashed from within, but this has always been tempered by the effort of their good intentions to win through. There is no finer example of this conflict than Jeff Goldblum and the work he does in The Fly – no amount of gore and dismemberment by toxic vomit can take from the compassion for our hero as he struggles with the way his body and mind changes and the desire he has to right things. His initial self is arrogant but determined, not a clean living character to corrupt but nonetheless the tension that follows puts us on a journey with him. For all the cliché that may smack off, we do want to support his search for a solution no matter how desperate the predicament becomes and unlikely a positive outcome will be. Even in the final moments he looks for solutions and to construct a family. His final resignation is all the more wrenching. Whatever science fiction or horror genre you might assign to The Fly it is most certainly a tragic tale.

The look of the transformation is key; it is convincing and it is vivid. The slow but steady change is unnerving, expanding from odd hair growth to a complete grotesque molting at the finale. (Should the rumoured re-make go into production, it is doomed if it considers CGI – only man-made, caked-on layers of crusty make up that needs peeling off will create the right effect). All the while love interest Geena Davis stays as loyal as possible, her own sense of dread growing, she gets to offer the ultimate of warnings and a now classic movie tag line ‘Be Afraid… Be Very Afraid’. The Fly is considered one of the finest movies of the ’80s and it is a very worthy entry for your DVD collection. It is a simple construct but over achieves in its noble aims, telling a good horror story with plenty of images to make you shudder.


HalloweenGemma Creagh


One of the original slasher movies; my mum wouldn’t let me watch Halloween when I was a ‘tween. She claimed (and rightly so) that it would give me nightmares. In retaliation, myself and my merry young amigos arranged an evening of horror at one of the less clued-in parental homes, where we had a triple bill of Jason, Chucky and Freddie himself. A few bowls of popcorn, two multipacks of sweets and a whole host of nervous squealing later, my devious band and I had one of the fearful and restless sleepovers in history.

Although not quite as frightened during my latest viewing, as I had been in that golden era of the mid-nineties, I was taken aback at how, after over three decades, the classic film’s tension and story still remain strong. Halloween was the ultimate low-budget independent horror, with meagre funding of $320,000. However, not only did it manage to gross over $60,000,000 but it spawned one of the most well-known and profitable franchises in horror movie history. The Halloween universe now spans a total of 10 films as well as a number of books, graphic novels and a range of stylish masks – the original of which, Jason’s mask, is actually an old William Shatner death mask from a Star Trek episode, only painted white.

By taking time to get to know the likable characters and their small cosy world of Haddonfield, Illinois, and then introducing an almost supernatural element of threat and terror; Halloween challenges the ideas of home and safety. In fact, Michael Myers is such a great evil figure because although we know his back-story, we essentially see so little of him that we can create the monster in our own imagination; a much scarier world than that any Hollywood prosthetics of CGI could ever create.

Apart from the odd slices of ham, there are some truly talented actors in the cast; the highlights being Donald Pleasence as the hapless Dr. Loom; and a young and talented Jamie Lee Curtis playing the prim and proper Laurie Strode. (Spoiler) It’s Laurie’s strong will and lack of interest in the less-fair sex that ultimately sees her survival.

Meanwhile her more promiscuous classmates get hacked to pieces mid-to-post coitus as a severe punishment to their loose morals.

Here’s an interesting side note courtesy of IMDB; the adult Michael Myers was portrayed by Nick Castle in almost every scene, except for a number pick-up shots and the unmasking scene, where he was replaced by Tony Moran. Castle was an old friend of John Carpenter and went on to be a successful director himself, now with the children’s movie Dennis the Menace under his belt – a far cry from his previous position, stalking and murdering young teens.

One of the best, and also the most frustrating aspect of this slasher classic, is its lack of reveal. This is instrumental in creating the tone, both with the gore as well as in constructing the mystery of Jason’s character. John Carpenter does a superbly subtle job of building the tension excruciatingly slowly so the viewer is both rooting for the spunky teens but also dying for some gory action. Then the murderous rampage is delivered in a swift and clean blow, so by the time the credits roll, you’re left abruptly with an odd sense of unease as the iconic music plays in the background – it’s hard to imagine that Williams composed and recorded that eerie soundtrack himself within four days. Legend.


The Omen – Peter Larkin

The Omen is a part of a group of films that symbolise a child being associated with devil. Roman Polanski’s Rosemary’s Baby (1968) and William Friedkin’s The Exorcist (1973) also feature this theme. It is written by David Seltzer who famously said, ‘I did it strictly for the money.’ Jerry Goldsmith’s epic film score won the much deserved Oscar® in 1976. The film was released in the U.K. on 6th June 1976; it stars Gregory Peck as Dr. Robert Thorne, his wife Katherine is played by Lee Remick. In Rome, on 6th June, Robert Thorne is told that his newly born has died, he decides to substitute it with an orphan and protect his wife by never telling her the truth.

Soon after, Thorne is elected as the US Ambassador to Britain, He moves to Fulham to live happily with his wife and the child whom they name Damien. On Damien’s fifth birthday, the nanny commits suicide on the top floor looking out at all the guests. A new nanny Mrs. Baylock (Billie Whitelaw) replaces her shortly afterwards. Father Brennan (Patrick Troughton) knows of Damien’s origins and warns Dr. Thorne and also tells him that Katherine is pregnant and Damien plans to kill the unborn child. Photographer Keith Jennings (David Warner) has been investigating the Thorns ever since the Nanny’s suicide.

The thing that makes the original 1976 Omen so memorable is that it is so believable. What would you do if you were told that your child was the literal antichrist? Ignore it as Peck’s character does?

First-time actor Harvey Stephens plays Damien with a sense of subtle ambiguity. Gregory Peck and Lee Remick give brilliantly realistic performances. Billie Whitelaw is unforgettable as the mysterious Mrs. Baylock. There is good support from David Warner and Patrick Troughton.

Every time that I hear the track from Jerry Goldsmith’s score on my iPod as the Thorns approach the church, I can feel the roots of my hair being pulling at, just as the late great Lee Remick’s hair was by the little devilish Harvey Stephens.

It is a film about our fears. Richard Donner’s dazzling direction not only illustrates the material, but also orchestrates it to a high intensity. Gilbert Taylor’s cinematography makes England a bleak and eerie place. Stuart Baird’s editing is sharp and coherent.

The Omen is a masterpiece of horror cinema. Every time I watch it I marvel at how seriously it takes itself. You will never forget that last shot. It is one to truly remember.

Psycho – Steven Galvin

‘No! I will not hide in the fruit cellar! Ha! You think I’m fruity, huh?’

‘Mother-m-mother, uh… what is the phrase? She isn’t quite herself today.’

Ah yes…  My youth. Coming out of Rocky and wanting to be World Heavyweight Champion. Rushing home from Karate Kid to aim high kicks at my younger sister, and, of course, after seeing Psycho, hanging around outside showers brandishing a knife dressed in Mother’s clothes. Such memories…

Alfred Hitchcock is undoubtedly one of the oddest characters ever to have had their wicked way with film. He totally understood how it worked upon the audience and ceaselessly re-invented genres with his perverse mangling of storytelling and in doing so shaped so much of what is modern cinema.

If cinema is the best medium for suspense, then Hitchcock directing Psycho stands tall as one of the finest manipulating inducers of celluloid tension. He is the master magician, using sleight-of-hand, pulling rabbits out of his hat, employing techniques that mischievously implicate the spectator in the evil at the heart of the film. Who hasn’t unwittingly found themselves holding their breathe when Norman pushes the car with Marion’s punctured body into the swamp and, for that brief moment, it seems the car won’t sink. ‘Sink… sink… please sink’, you find yourself willing. Indeed, Hitchcock ensures that for the most part the viewer is essentially seeing through Norman’s eyes.

From Saul Bellow’s introductory screen credits that dementedly cut apart the screen backed to the manic paranoid-fuelled music kicking off Bernard Herrmann’s wonderful score, so essential to the mood of the film, through to the last shot of Norman Bates’ face with a still frame of Mother’s skull superimposed over it, Psycho is a feast of demented thrills and intense bursts of psycho-illogical eruptions. Hitchcock took Anthony Perkins’ timid monster, took the Norman out of normal and shacked him up in that eerie house with the skeletoned corpse of his own mother. What can possibly go wrong?

Anytime I see a house that reminds me in any way of Bates’, I always check the upstairs window for ‘Mother’ and can always hear her calling Norman’s name in her twisted voice and goading him: ‘As if men don’t desire strangers! As if… ohh, I refuse to speak of disgusting things, because they disgust me! You understand, boy? Go on, go tell her she’ll not be appeasing her ugly appetite with my food… or my son! Or do I have to tell her because you don’t have the guts! Huh, boy? You have the guts, boy?’

God knows what Hitchcock’s own Irish mother would have made of it all…

I once drunkenly argued that Psycho was the reason people replaced shower curtains with those horrible glass doors on their showers. People laughed at me but deep down I reckon I’m right – and they should consider themselves lucky they don’t have shower curtains; otherwise I’d be there, in Mother’s clothes, with my knife – cue shrieking violins and stabbing cellos.

Thank you Mr Hitchcock…

Rosemary’s BabyLiam Brennan

Over the past five years I have rented four different apartments and every time I attended a showing I always started out by asking the same question: What are the other tenants like? Are they quiet, easygoing neighbourly types who will nod their heads as you pass them in the hallway or step into a crowded elevator? Or are they rambunctious sex-fiends whose padded leather headboards will bark at you through the walls all night long? In my case, it was inevitably the latter and the same thought popped into my head by the end of the first week in a new pad: I wonder if they’re part of a satanic cult?

I have but one man to thank for these thoughts and his name is Roman Polanski. I recall the night I first watched his 1968 horror classic, Rosemary’s Baby. It was a warm summer night in Winnipeg, Canada and, being a homely teenage shut-in, I’d taken to renting heaps of old Hitchcock thrillers each week until the manager of the video store so kindly asked me to ‘watch something other than that old shit already’.

I asked him what he’d recommend, what would really scare the shit out of me? He started rooting around in the returns bin, which was nothing more than a cardboard box sitting underneath a broken window at the corner of the store, and returned with a video he assured me would be the scariest thing I’d ever seen.
He was right.

Hell, even the cover of the box scared me; that ominous green glow across Mia Farrow’s blank profile, that tiny black pram which seemed to be staring back at me saying, ‘You really don’t wanna see what I’ve got in here’. And for a moment I didn’t, but curiosity gets the best of you and, well, I’ve hated the process of renting apartments ever since.

The film itself is so perfectly executed that it’s hard to say where its blood-dimmed dreamscape begins and Rosemary’s reality ends. But that’s what makes it the quintessential horror film; Polanski knows that, as with any good scary story, the screams are only as horrifying as they are true. In this case, the viewer never really knows what’s to be believed and what isn’t. There is no line on the horizon that marks the waypoint between belief and, gasp, what lies beyond belief.


Salem’s Lot Charlene Lydon

It may seem rather an odd addition to this list of such great horror films, a three-hour-long TV adaptation of a Stephen King story, but this is definitely a film that deserves a second look. I read King’s novel when I was way too young to be exposed to such horror and it started a lifelong love affair between me and King’s books. I first saw the movie as a child, rented by my older sister from the video shop and I remember it being the scariest thing had seen in my life, up until that point. I revisited the film recently and despite the fact that it has aged terribly in parts, including the odd freeze-frame here and there and the dodgy floating demon children, the film still terrified me and the other members of the audience. Because it was originally a TV movie, there is surprisingly little blood in the film. This is something I realised after the fact and had trouble believing how little onscreen violence there actually was, especially considering Tobe Hooper was at the helm.

Salem’s Lot is a story about a journalist, Ben (David Soul) who returns to his home town of Jerusalem’s Lot, Maine to write about the Marsten House, a place that had frightened him as a child and has haunted him since. He has arrived at the same time as the mysterious antiques dealer Mr. Straker (James Mason) and his as yet unseen partner Mr. Barlow, who have rented the Marsten House.

The film is part haunted house horror, part vampire thriller, part indictment of the passive masses. King has been known for his tendency to favour small-town Americana. Perhaps this is because his good-evil dichotomy has always had an observer; the passive townsfolk who get picked off one by one. Salem’s Lot is a fine example of this.

The standout aspect of Salem’s Lot is the fact that it features a truly terrifying vampire, a rarity in cinema these days. Mr. Barlow is not sexy, he is not a tortured soul and he is not tragic…he’s evil, he’s ugly and he’s scary! I can’t remember the last time I saw a depiction of a vampire that was truly a bloodsucking demon and nothing more. The introduction of Barlow after almost two hours of anticipation is brilliant, one of the greatest scares in all of horror cinema.

The very long running time of the film may seem excessive but the character exposition and the slow burning tension ensures that it rarely drags. Some of the characters stories may seem superfluous but it all acts as a gateway into the lives of the town’s inhabitants and how far they all are from the world of vampires and demons.

Salem’s Lot is a genuinely tense and scary film; a good, old-fashioned horror film and a film example of what can be done without overuse of blood and gore. Flawed and at times a little cheesy, this is still a truly terrifying film which has been unfairly overlooked for a long time. Maybe it’s time to give ol’ Mr. Barlow another look. You might just find it’s the perfect film for a dark, spooky, Halloween night.


The Shining – Scott Townsend

For any misguided soul who views the horror genre as inferior, The Shining is probably the definitive response. Stephen King’s lengthy novel provides a cheap pulpy premise: a writer takes a job as a caretaker in an abandoned hotel for the winter with his family. The hotel, however, has a dark past, and begins to cloud his mind. King’s book took this premise and filled it with literal monsters and the supernatural. Kubrick, meanwhile, threw out the hokier parts of the book (living hedge-monsters anyone?) and instead focused on the family and psychological elements. Famously, King wasn’t impressed, calling Kubrick a man ‘who thinks too much and feels too little’. It’s this rejection of horror-movie grammar, however, that makes the film great. Almost every scene takes place in either a brightly lit area or in daylight. There are no shadows for anything to hide in, no darkness. In Kubrick’s world, evil is perfectly visible, staring you straight in the face. There is no direct antagonist, with the only villain being the hotel itself and the madness it brings out it in the characters. Kubrick’s mastery of atmosphere, compostion and editing brings out a chilling quality in the most ordinary things – a ball being bounced against a wall, a child’s tricycle. Case in point – the scariest image isn’t the tidal wave of blood, or the hag in the bathtub, but simply two twin girls standing in a hallway with dodgy wallpaper.

Despite lukewarm critical reaction at the time, and King’s dismissal of it, The Shining endures as one of the greats. It remains terrifying despite one of the finest ever Simpsons spoofs (‘That’s odd. Usually the blood gets off at the second floor’). Even on television, its chilling composition and electrifying sound design can haunt your dreams. The final shot raises a fascinating, head-scratching mystery that haunts you the more you think about it. And those twins are unspeakably creepy.


The Thing – Jack McGlynn

I was fully grown when first I saw The Thing. Darkness was no longer scary, night-time bumps were easily identified, and blood and guts in films was yearned for, not feared. A veritable Big Brave Dog, if you will.

And still it scared the piss out of me.

Long had I been searching for a horror that could evoke genuine fear, not cheap jumps or scares. I had tried and tested all the great horror classics, finding them wanting. Then one cold dark night, a friend suggested John Carpenter’s underrated masterpiece, so we flicked off the lights and settled in for two hours of isolation, tension and grotesquery.

I realised this was a particularly distressing feature as I was laughing inside of ten minutes. Each of us responds to fear and tension in different ways. The Thing was so distressing, I laughed hysterically. And it wasn’t simply the ingenious creature effects which caused it (though I’d be lying if I said they didn’t help).
It’s actually The Thing’s subtler themes which haunt us so much: An isolated station, no help coming, an unknown threat, friends turning on friends. Mundane yet effective. In fact, the only aspect not immediately relatable in this horror is the titular creature.

There are no plucky virgins, no chauvinist jocks who could probably benefit from a good stabbing, no would-be heroes offering a glimmer of hope before some wrestler wearing a hockey mask rends him in two with a gigantic butter knife. Every single character is average, relatable, and ordinary.

The real terror here comes not from the prospect of being absorbed by the gross alien baddie, as that’s a relatively unlikely scenario for any of us to encounter. Instead the idea of best buddies turning on each other, becoming each other’s nemesis due to the fear and isolation, that’s what’s really affecting.

Death may come to us all, but it only comes the once. Fear on the other hand, has no such limits, and can take generally decent, civic minded folk, and turn them petty, selfish and unpredictable. What’s so scary about The Thing is that by the time the credits roll on this depressing film, you’ll be a lot less confident in how good and decent a person you really are.


DVD Review: Death of a Superhero


Based on the book of the same name by New Zealander Anthony McCarten and directed by Ian Fitzgibbon (Perrier’s Bounty, A Film with Me in It), Death of a Superhero pours new life into the well-worn themes of death and mortality by exploring them through the medium of teenage fantasy.

Fifteen-year-old Donald (Thomas Brodie-Sangster) is coping with all the usual pitfalls of teenage life – self-consciousness, the general irritation of overly-affectionate parents and the constant bafflement of the opposite sex. However, these concerns are further complicated by a much more serious problem. Donald is slowly dying of leukaemia, his chemotherapy simultaneously extending his life and draining it from him. As he watches his parents rail against a disintegrating grief, he finds solace in his remarkable talent for art and graffiti, reimagining himself as a stone-faced superhero battling a villainous doctor known as ‘the glove’ – a hero who is both irresistible to women, yet unable to consummate any kind of physical relationship with them. Donald is terrified and, understandably, obsessed by death – in an effort to control it he makes several suicide attempts, to the horror of his parents who want to see their young son embracing what life he has left. After being sent on a series of failed counselling sessions, Donald finally meets psychiatrist Dr Adrian King (Andy Serkis), a wry and erudite thanatologist (thanatology being the study of death) who calmly asserts that ‘death always wins’ but that it is not something to be afraid of. Dr King must attempt to win the trust and friendship of Donald before his young patient completely loses control.

For a bleak story, Death of a Superhero vibrantly glows with humour and optimism. There are moments of genuine comedy, for example when Donald’s dad allows him to smoke weed to calm his anxiety, and when his other brother and friends take it upon themselves to find a ‘special lady’ for Donald to lose his virginity to before he dies. Beautifully shot in many familiar Dublin locations, the city comes alive through Donald’s eyes. The narrative is interspersed with comic-book style animation, a visual representation of Donald’s dark fantasies of fear, sex and death. Meanwhile, his attraction to the highly intelligent and self-possessed Shelly (Aisling Loftus) gives him a momentary distraction from his illness and a glimpse of what a ‘normal’ life could be like.

The casting in this movie is what makes it work so well. While the plot borders on predictable and clichéd, it is the performances of Brodie-Sangster and Serkis in particular that make this worth watching. The subjects of illness and death are handled with sensitivity and realism; where Death of a Superhero could easily have veered down a schmaltzy, over-sentimentalised path, it instead delivers a unique and powerful story that manages to leave the viewer both emotionally drained and uplifted by the end.


  • Running Time: 97 minutes
  • Genres: Drama, Sci-fi, Fantasy
  • Reviews: 0 Reviews
  • Release Date: 21.02.2013
  • Studio: Bavaria Films
  • Certification: 15A

DVD Review: What Richard Did

DIR: Lenny Abrahamson PRO: Ed Guiney, Andrew Lowe DOP: David Grennan ED: Nathan Nugent DES: Stephanie Clerkin Cast: Jack Reynor, Lars Mikkelsen, Roisin Murphy


Although director Lenny Abrahamson is keen to stress that What Richard Did is separate from the Brian Murphy / Annabel’s case, it’s impossible to watch this without acknowledging it in some manner. There are simply too many similarities between the two to be ignored. That said, the film doesn’t comment on the case or the social / class issues that the case raised in Irish society. What Richard Did is a study of pressure and consequence. The titular character, Richard (Jack Reynor), is the atypical Celtic Tiger cub. He’s young, affluent and attends a private school in South Dublin. However, as the film progresses, it’s slowly revealed that Richard is not as happy as he initially seems. Constantly held up as the example and alpha of his peers, the conditioning that is worked on him begins to take its toll on him. As he begins a relationship with Lara (Roisin Murphy) that sees his teammate Conor (Sam Keeley) edged out, the film’s emotional content comes to the fore and culminates in a violent encounter outside a house party.


Abrahamson’s direction is muted and stable. There are no cinematic flourishes; here, the cinematography matches the mood of each individual scene. When Richard is withdrawn and sullen, the colours drop to a dull, familiar grey and pulled over curtains. As well as this, the dialogue is both authentic and economical. Malcolm Campbell’s script cleverly leaves out the character’s thoughts and emotions in dialogue, instead allowing the actors to portray them using their own means. In particular, one scene involving Richard finally cracking from the tension is riveting to watch. Screaming wordlessly and pounding like a maniac, Reynor’s performance is unsettling and difficult to watch, but is also entirely believable. Supporting Reynor is Danish actor Lars Mikkelsen who plays his father, Peter. Mikkelsen’s measured tones and glacial exterior hint at someone who’s dealt with emotional issues like what Richard is going through – though not to his extent.


Overall, What Richard Did is a powerful drama that doesn’t cast judgement on individuals or society as a whole. It simply tells the story of a young man and his attempts to cope with unbearable pressure. The film’s pacing is slow and, at times, it can seem like the story isn’t moving forward – instead focusing on an individual mood or scene. However, nothing feels superfluous or unnecessary – it’s more that the point or thrust of a scene is being hammered home when it doesn’t need to be. It’s a minor complaint in an otherwise exceptional film. Both Reynor and Abrahamson have marked themselves out as singular talents; this is Reynor’s first lead role and will go on to impress again. Likewise, Abrahamson continues to lead the pack in Irish cinema and will undoubtedly move beyond our shores to become a force to be reckoned with.
Brian Lloyd

Element Pictures Distribution is distributing the DVD, which is available to rent exclusively from Xtra-vision from Friday, 25th January . The film is also  available on-demand from 8th February.

The DVD includes special features such as an audio commentary from director Lenny Abrahamson and writer Malcolm Campbell, as well as a special director’s interview.

Additional stockists of the DVD are Golden Discs, Tesco’s, Heatons and Tower Records.


DVD Review: True-D

Irish short film True-D (2012) uses an imaginative technique to give a simple story about human compassion a creative twist.

The mostly unscripted short by Noel Brady (An Tain, Duality, Movers and Shakers) tells the story of John Walker (Michael Bates – Derelict) another victim of the Recession driven to suicidal thoughts by his desperate circumstances. On his journey to end it all, however, he is interrupted by a busker with magic 3D glasses which allow him to see how others he encounters in that moment – a prostitute, a homeless man and a despairing businessman facing unemployment – ended up in their hopeless situations.

The film, set to an effectively dreamy and melancholic soundtrack by Elder Roche, bridges the gap between grim reality and fantasy with the use of shadows to tell each character’s own bleak story.

When John wears the magic glasses, he can see the tragic descent of each character into their current reality. We see a woman, whose destitution forces her to sell her body on the street. When we look again through John’s new glasses, the shadows on the wall tells her story of how she was lured into a life of prostitution by a drug-pushing pimp. She has been cast to the fringes of society without hope and with her child having been taken from her, now survives only for her next fix.

The director wanted his film to challenge our perceptions of others, to urges us not to cast judgment on those who society deems the ‘undesirables.’

Brady told Film Ireland, ‘The whole idea for True-D came about from just people watching, sometimes you see people and they look as if they are carrying the weight of world on their shoulders. And it seemed to me that if for just one moment, you could see peoples lives, see the weight they carry, then maybe we just might show a little more understanding and humanity for our fellow man. And that’s what this short film is all about. I had had the idea of using shadows for quite sometime, but I could never come up with a device to use in the film to allow the character and us the audience to see people as the truly are. And that’s when I got the idea of the 3-D glasses.’

To date True-D has being screened in the Corona Fastnet Film Festival in Cork, The Charlie Chaplin Comedy film Festival in Kerry, Underground Cinema both in Ireland and in London.

The creative ‘shadow’ technique, the topical message behind the film and the emotive soundtrack is what made it the ‘Best Irish Short’ at the recent Dublin International Short Film and Music Festival.

The actors, recognisable from the Irish film circuit, (Conor Marren, Hilary Cotter, Fergal Cleary, Mark Schrier) expressively portray the anguish of the characters without words, driving home their vulnerability at the hands of an often ruthless and condemnatory society.

While the film’s ‘recessionary times’ topic is far from original, and its ending skates very close to a sentimental, Sunday-School ‘love thy neighbour’ display, the original dramatic methods used to convey this message, the fitting soundtrack and credible acting make it a worthwhile prize-winner amongst Irish shorts.

Carmen Bryce




DVD Review: The Gingerbread Men


Written and directed by Dubliner and relative newcomer Dáire McNab, The Gingerbread Men follows on from his 2009 debut horror The Farm. This movie switches genres, exploring the strained and touching relationship between two Trinity College students and housemates – surly womaniser Charlie (Elliot Moriarty) and hapless virgin Ken (Kenneth Conway), whose facial scars have removed his last shred of confidence, making it almost impossible for him to engage with women. Ken observes Charlie with a mixture of awe and envy as the latter effortlessly seduces various women he meets in bars, only to coldly dismiss them the next morning. When Charlie meets Nicole, however, he is consumed with confusion as he realises he is falling for her but is terrified of getting too attached. Meanwhile, Ken relies on misguided humour to fumble through the treacherous passageway between hope and rejection. Though he never relinquishes his pursuit of love, he furtively carries with him the pain of his scars and the memories of how he received them.

This movie sensitively portrays the two young men’s everyday experiences; while it shows them out partying, getting drunk and laid (well mostly Charlie), the heart of the story lies in the quieter moments. Set primarily in their small apartment over the space of a couple of months, there is a sense of the closeness of the pair, both emotionally and also physically because of the close quarters they share. Although Charlie is often indifferent towards everyday life, due in large part to a fractured relationship with his father, he genuinely cares about Ken and his plight, even if he is not always adept at expressing this. Ken’s awkward, self-deprecating nature – coupled with his inability to vet his thoughts as he verbalises them – makes him an endearing character and he provides a good-humoured remedy for Charlie’s churlishness.

There is a familiarity in this movie that is vaguely reminiscent of RTÉ’s Bachelors Walk – the streets, bars and scenery are all recognisable Dublin locations; these are typical students we all could have bumped into at 2am in a dodgy nightclub at some point in time. The intermittent narrator endeavours to provide a light-hearted tone – this doesn’t entirely work, but the attempt at doing something different is commendable. The Gingerbread Men is about a moment in time, a snapshot of two intersecting lives heading towards unclear futures. For now, however, the pair find a strange solace in one another, both heavy under the weight of their individual burdens. Like every other college student facing into the real world they are just trying to get by as best they can, doomed like so many before them to learn inalienable truths the hard way.


Emma O’Donoghue

The DVD can be ordered from http://www.secondwavefilms.com/buy-dvds.html and is available at various outlets.

Written, shot, directed & edited by Dáire McNab. Produced by Robert Kearns, Simone Cameron-Coen & Dáire McNab.
CAST: Elliot Moriarty as Charlie, Kenneth Conway as Ken, Gillian Walsh as Nicole, Louise Cargin as Marie.
Narrated by Damian Clark.


DVD Review: Tree Keeper


Filmed in rural Cork by Irish filmmaker Patrick O’ Shea, Tree Keeper is a bold film that attempts to stand on its own as a psychological thriller with the themes of violence, greed and environmentally conservatism. The question is can it compete with the Hollywood thrillers we encounter every week?

Tree Keeper tells the story of recluse Doire who has retreated to live in the woodlands he inherited when his father died. He is a solitary figure who is brought back into the world he despises when he discovers his estranged mother has sold off his land to a developer who wants to build a landfill. Doire is then thrown into a violent conflict in order to save his home, which has repercussions on both his life and that of his enemies.

This film makes a brave effort to match up to its foreign contenders in the genre by delivering a concise and through plot that overall holds together well.  James Browne (Doire) gives a realistic performance as the disturbed and on edge protagonist. He holds the attention of the camera well and gives by far the best acting performance. The strong contrast between Doire’s quiet world of beauty in the woods and the cruel outside world is shown through the eyes of director of photography Rupert MacCarthy-Morrogh  using all Cork’s rural landscape has to offer. The scenes in the woods are beautifully shot, which contrasts with the tough outside world of mistrust, cruelty and violence.

Orchestral music is used to capture the tense atmosphere for the violent scenes and to show Doire’s mental distress. Although the two leads carry the plot well; the support cast can at times looks amateur and stilted. The backstory is also hazy as Doire’s estrangement to his mother is mentioned but never explained. Other characters from the small town are also crucially missing details of their lives and place in the story.

Tree Keeper is, however, a fearless film that reaches the heights it has set itself and its star James Browne in particular should have a strong future ahead of him.

Ailbhe O’ Reilly


Tree Keeper is now available to buy here on DVD and Blu-ray!

The DVD is also available in store at Plugd Records in the Triskel Arts Centre in Cork City.

The HD Download will be available from 21st November 2012.


DVD Review: Circus Born


Matt Skinner’s Circus Born is one of those painful anomalies, bursting with quirk and promise but falling just ever so short of the mark. Gritty and observational in approach, the documentary takes the form of ‘a year in the life’ of Fossett’s Circus, where the focus on the everyday labour and toil overshadows the glamour of the spotlight.

The film never shies away from the honest opinions and struggles (and tempers) that revolve around the big top.; the frustrations of orchestrating an act with language barriers, new perspectives on the absence of animals in today’s circus by the children that grew up around them, and the uncertainty of securing seat sales as they travel across country, are but some of the issues covered. This is only disappointing due to the fact that Circus Born seems to merely touch on the history of Fossett’s family circus through sporadic interviews with its oldest surviving member.

There are attempts to elaborate on these snippets, but, unfortunately, they become lost in the mix. This is a shame, as what is revealed is fascinating and recalled with the warmth and humour of a true born show-person.

That said, there are some really nice, honest moments throughout and the balance between the genuine love of the performers is juxtaposed nicely with the reality of the day-to-day running of the show.

Tess Motherway


DVD now available

For enquiries regarding Circus Born for festivals, other showings or TV please email Matt at mattskinner@iol.ie


DVD Review: Zombie 108


Zombie 108 has been hailed as the first Taiwanese zombie movie in history and has generated a great amount of interest from horror movie buffs and critics alike. Naturally, when asked to review a film that has generated such a buzz, and happens to include zombies I was both excited and wary. Could Zombie 108 really live up to its hype?

The movie’s title sequences explain it all for the audience immediately. After a catastrophic accident in a top-secret research lab, a new strain of virus is released with violent repercussions. It is a common trope in zombie movies, but this is where Zombie 108’s association with the traditional zombie movie ends. As the movie opens we are introduced to one of our protagonists, a young woman searching for her daughter amidst a sea of bodies, as she is chased by zombies we realize that her day will probably not improve from here.

District 108 is no Disneyland, and is the one area of town that is to be avoided at all costs on an average day unless one desires a run-in with an obese, controlling drug lord surrounded by a sea of drowsy beauties. Sadly, as with all zombie movies, this is no average day. The local SWAT team has been called in to evacuate the resistant uninfected. After wasting much time shooting at each other, both sides eventually learn that it is the zombies are, in fact, the real problem in town.

It is generally advised that one nails down genre before shooting begins and this is where Zombie 108 falls short. At times it’s as though the creators have watched the trailers of zombie classics and judged what their movie should look like from that alone and the movie soon dissolves into generic chaos, jumping from zombie movie, to cop movie, to Saw-esque torture porn, and sometimes even comedy.

One of the more interesting aspects of the movie is that there are no grey areas here when it comes to characters. One is either innocent or evil as evidenced by one character being billed only as ‘Pervert’. There is something refreshing about knowing exactly where we stand in a movie, and some of the more arty sequences make the audience feel as though we are watching a comic book in action. These scenes are the most culturally different to our own and we feel like we are experiencing something new and intriguing. Unfortunately, with the addition of two ‘comedic’ American drug pushers and the ‘Pervert’ himself, Zombie 108 reverts to madness and leaves the audience behind.

Zombie 108 is an interesting movie anomaly and seems to have succeeded where most fail. Director Joe Chien’s call for funding was answered by over 900 fans who aided in the creation of the movie. Suddenly social media websites like Facebook and Twitter are becoming important in the movie world for more than simply ranting or raving about the latest movie you have seen. For me, Zombie 108 is an indicator; it is imperfect in many ways but shows a new era opening up in art. With the advent of funding options like Kickstarter we may see independent crowd-funded movies like Zombie 108 really take flight. Maybe next time though more thought will be put into ensuring the audience know their generic positions and aren’t so consistently confused.

Zombie 108 is an exciting new step in movie-making, but ultimately leaves zombie lovers disappointed as it jars the audience jumping from genre to genre and never seeming to settle anywhere. For a movie named ‘Zombie 108’, it frequently veers away from the zombie aspect and into vague cultural and sexual territories. Whilst some of us might have found ourselves wildly excited about watching a Taiwanese zombie movie, Zombie 108 is somewhat of a disappointment.

Zombie 108 ends in the same way it opens, with the streets littered with bodies and people searching for hope in a seemingly hopeless world. As the credits roll we find ourselves wondering if the hour and a half in the middle was truly necessary. It is the movie we see in the first and final ten minutes that I would like to see.


Ciara O’Brien

Format: Anamorphic, Dolby, PAL, Widescreen
Region: Region 2
Number of discs: 1
Classification: 18
Studio: Showbox
DVD Release Date: 2nd July 2012
Run Time: 83 minutes


DVD Review: War of the Arrows

I’ll spare you the obligatory archery themed pun; a few arrows short of a Quiver, Just misses the mark, Bullseye etc.

Instead, you’ll be pleasantly surprised to know War of the Arrows is actually very entertaining!

Comparisons with House of Flying Daggers are obvious and immediate, both feature chase narratives and projectile weaponry. However, in many ways, War of the Arrows is the film HOFD wishes it was. Though not nearly as colourful, it lacks the pretension, lengthy exposition and incoherent plotting.

Sagely, War instead draws itself taught for a gripping two hours of curving quarrels, spurting gore and CG tigers.

War is a hefty beast clocking in at 122 minutes. When Cine Asia titles reach such runtimes, it’s usually an indication something has gone awry. Yet somehow, it still feels lean with each scene driving the story or grinding the tension. With minimal setup, toxophilite Nam Yi (Hae-il Park) is gifted with cause and justification to employ his otherworldly skills in a daring attempt to rescue his sister.

The bulk of War concerns said rescue attempt and, naturally, any subsequent escape sequences. This more or less equates to two solid hours of cavalry charges, bladed melees and lethal archery contests. The former aren’t especially inspired, yet lashings of gore and screaming combatants certainly help sell the violence.

Predictably, pointy sticks flung by taught strings are the focus here, and it makes for a pleasant change of pace, for once stealing the limelight from fists, feet and blades. And though the devastating ‘half-pounders’ and side-winding bolts are a joy to behold, one can’t shake the impression War didn’t quite showcase archery at its utmost.

A handful more “Holy S**t” draws wouldn’t have gone amiss.

This remains a minor complaint as the half hour finale boasts its share. Meanwhile hero Nam-Yi makes for a refreshingly ruthless protagonist. In addition to impaling foes with wooden projectiles, he’s happy to burn them alive or introduce a monstrously oversized tiger into proceedings if it gets the job done.

But in his defence, wouldn’t you?

Considering I expected this to be a dreary, contemplative exercise on instilling the virtues of archery (patience, stillness, tranquillity, I dunno, other boring stuff?) into one’s soul, War of the Arrows proved a gory treat!

Essentially a two-hour chase scene, crammed with courageous heroes, relentless villains and solid, meaty action, as a medium for advertising the intrinsic coolness of archery, War of the Arrows puts its contemporaries, notably 2010’s Robin Hood to shame.

To shame, Mr Scott, to shame!

Jack McGlynn



Format: Anamorphic, Dolby, PAL, Surround Sound, Widescreen
Region: Region 2
Number of discs: 1
Classification: 15
Studio: Cine-Asia
DVD Release Date: 7th May 2012
Run Time: 118 minutes


DVD Review: The Frontline

The Frontline was one of Korea’s biggest blockbusters last year,  recording over two million admissions in just 10 days in South Korea and was the country’s official entry to this year’s Academy Awards® for Best Foreign Language Film. It is a visceral dramatisation of the Korean war in 1953 and the events leading to its ceasefire. Director Jang Hun is concerned with the victims and their aggressors rather than, or not only with, tactical war strategies. In January 1953, Kang Eun-pyo (Shin Ha-kyun), from the C.I.C., a South Korean army division specializing in detecting and expelling communists, is sent to join Alligator Company – a small troop of men assigned to occupy Aerok Hill, a strategic point on the Eastern Front. His covert mission is to investigate the mysterious death of their commander and to decipher how South Korean military is implicated in delivering letters from the North to their families in the South.

Arriving at the frontline, Kang finds the small troop depressed as the promises they were given about the imminent ending of the war have proven to be false. Kang also discovers that officers have been engaging in exchanges of an illicit nature with the enemy. This element of the film shows the whole scenario of the Korean war with a human and compassionate touch. In fact the ineffectiveness of sacrifice is often symbolized by the main hill where the main action took place, which changed hands around 30 times in 18 months. The tacit bond between the two sides is brilliantly juxtaposed with war scenes where merciless soldiers take action, even toward one’s own comrades.

Jang Hun’s direction and Park Sang-yeon’s conventional but fine screenplay achieves the right balance between humanist anti-war sentiment and personal heroism. Jang’s intention is clearly geared towards downplaying the visual fireworks of war in favour of expressing its messy, senseless pandemonium.

Ko Soo is fantastic as Kim the stubborn, rule-breaking rebel.  Also the other soldiers display great aptitude when they need to go through difficult state of minds to endure a war that seems endless and useless (as wars are…).

Nicola Marzano

Format: Anamorphic, Dolby, HiFi Sound, Widescreen
Region: Region 2
Number of discs: 1
Classification: 18
Studio: Cine-Asia
DVD Release Date: 27th February 2012
Run Time: 128 minutes


DVD Review: The Guard

Out now on DVD, The Guard is a potent mix of Western tropes, slick black comedy and American cop procedurals, and although it may sound cluttered, it is actually a fairly smooth concoction. It tells the story of a Garda dealing with drug runners and corruption in a modern, if still oddly timeless, Ireland. Brendan Gleeson excels as the main focus; his character-actor sensibilities complementing a leading-man flair, which has been too long dormant. Playing The General, or say Michael Collins, threatened to make him iconic, but the essaying of historical characters always dominates a role. With The Guard he is allowed to create a character from scratch and the nuances he brings to the role of Sgt. Gerry Boyle are a masterclass in how to combine pathos with biting humour. Don Cheadle’s straight-laced FBI agent is left to navigate the eccentricities of this man and provides the film with a charming fish-out-of-water dimension.

Occasionally ever so slightly self-satisfied, the film works due to its balance. Despite some heavy themes, it is never too bleak nor does its emotional core ever become too sentimental or cloying. A modern gem but not for the politically-correct crowd, that’s for sure.

Emmet O’Brien

  • Format: PAL
  • Region: Region 2
  • Classification: 18
  • Studio: Optimum Home Entertainment
  • DVD Release Date: 16 Jan 2012

DVD Review – Yamada: Way of the Samurai

Hi Yamada

Billed as ‘The Last Samurai meets Ong Bak 2’, Yamada: Way of the Samurai is perhaps more aptly described as simply, ‘The Last Samurai.’ Only with an actual samurai instead of Tom Cruise. And Muay Thai Boxers instead of samurai. And fanatic patriotism in place of any sense of narrative thrust or character evolution.

Essentially a celebration for 150 years of diplomatic relations between Thailand and Japan, Yamada chronicles a misplaced samurai, saved from assassination by a village, populated almost exclusively by scantily clad Thai boxers.

Sadly the drama never musters the energy to stretch beyond this, and the constant jingoistic drone certainly grates on viewers who aren’t a) Thai b) Japanese of c) Nationalistic to a fault. Elsewhere, poorly translated subtitles do few favours for an already forgettable tale.

DVD features include the usual fact-filled commentary from Bey Logan, trailer compilations, deleted scenes and a surprisingly interesting documentary on Thai Boxing.

Mercifully, there are a host of meticulously choreographed brawls and shockingly violent sword fights to keep you entertained. As expected, action is Yamada’s only saving grace with veteran performers Sorapon Chatree (Ong Bak 2 & 3), Thanawut Ketsaro and even staunchly loyal samurai Seigi Ozeki composing themselves magnificently.

The shots are long, wide and rarely flinch from the crack of elbow on chin or knee on rib. The film’s highlight occurs around the one hour mark, and constitutes twelve Muay Thai bodyguards decimating a 200 strong force of savages who really should have run, screaming for mercy inside of the first thirty seconds. The sequence lingers, for all the right reasons. Most of them drenched in blood!

But without anything compelling to latch onto, CG gore and bone crunching melee sequences can only do so much. Even the hardest of hardcore action titles necessitate some degree of poignant framework or emotional resonance to register a response in its audience.

Yamada lacks this.

However, at a concise 90 minutes in length, it has the decency to not overstay its welcome. Best viewed as a technical showcase, Yamada: Way of the Samurai can only, in good conscience, be recommended for bloodthirsty action fans.

And even then I suggest fast forwarding past anything lacking an elbow smashing someone’s face!

Jack McGlynn

Special Features:

– Dolby Digital Thai 2.0 & 5.1 with English Subtitles
– Audio Commentary by Bey Logan
– Masters of the Ring Cine Asia Exclusive featurette
– Deleted Scenes
– Trailer Gallery

Format: Anamorphic, Dolby, PAL, Widescreen
Region: Region 2
Number of discs: 1
Classification: 15
Studio: Cine-Asia
DVD Release Date: 30th Jan 2012


DVD Review: Pyjama Girls


A brief glimpse into a seldom-viewed world, this short documentary by Maya Derrington fluidly oscillates between the hardened roughness of the street and the quiet, tender moments in the intimacy of the home. Around the flats of Ballyfermot in Dublin the pavement is littered with kids of all ages – young boys cause havoc, tormenting passers-by, throwing stones at windows and generally killing time in a grey and dreary landscape. The girls kill time in their own way – loitering around the flats in chattering groups, occupying the back seats of buses and ambling around the department stores in search of their most beloved and revered fashion items – soft, colourful pyjamas to be worn on the streets with pride.

While partly claimed to be a matter of convenience, the pyjamas are a bold statement; they embody a protective shield, an air of indifference, a casual but selective ensemble of shades and textures that attract negative attention from outsiders, attention that the girls seem to proudly wear as the badge of their isolation from society. The pyjamas also acknowledge the close-knit and familial nature of the community in the flats, ‘when you’re in the flats the whole lot of the flats is like your house… so you going down on the block in your pyjamas is like walking around your house … because you know everyone’.

The primary focus of Pyjama Girls is two fifteen-year old girls, best friends Lauren and Tara. Lauren is an intelligent, funny and remarkably self-aware girl, having seen more than her fair share of hardship in her short lifetime. Her drug-addicted mother remains a looming shadow in the documentary, never seen but often spoken about with a calm factuality that is imbued with a mixture of pain, resentment, anger and love. Lauren suffers from outbursts of anger and violence, which she speaks candidly about, though it is clear she retains certain emotions and facts as private. Her quiet but fierce love for her younger sister Danika is poignantly displayed. Danika lives with their great aunt, and remains a heartbreaking reminder of the destruction of their mother’s addiction. Tara, a gentler girl from what appears to be a more stable family background, is a support for Lauren. She looks out for her and offers endless companionship. The two girls keep each other afloat amidst the realities of a turbulent adolescence and provide each other with support in the face of a difficult and unpromising future.

Where this documentary is tragic, it is funny, where it is dismal, it emanates hope. The pyjama girls take pride in their attire, in their difference, yet there is a sense that could things be different for them, they would renounce it. When choices are limited, the power of ownership becomes prized, and these pyjamas are a wholly significant reminder of that. This is an emotive and enthralling documentary that may cause you to look differently at the pyjama-clad the next time you see them around Dublin.

Emma O’Donoghue

Pyjama Girls is available on DVD from 15th November 2011


DVD Review: Sarah’s Key

Sarah's Key [DVD]


It’s very easy to live in the black or the white, but sometimes it’s necessary to examine that grey area in between. Sarah’s Key beautifully drowns itself in this grey, cutting right by the ‘us and them’ arguments, and highlighting France’s willing collaboration with the Nazis, and their involvement in the corralling of 76,000 Jews. Specifically, the film is concerned with the Vél’ d’hiv’ round-up of 13,000 Jews from Paris on the 16th and 17th of July 1942: the largest mass arrest of Jews ever on French soil. The grouping included a large proportion of women and children – who had not yet learned the need to hide – and brought them for interment in brutal conditions at the Paris Vélodrome, before mass transport to camps.

Our story starts, then, in 1942, with a young girl Sarah, (the tragic and beautiful Mélusine Mayance), and her brother Michél, playing together in their apartment before disturbed by harsh knocking. Sarah, seeing that these uniformed men don’t bode well for her mother and them, runs to the bedroom and locks her brother in a secret closet, promising to return later to release him. The harsh reaction of neighbours as they pass make Sarah realise that the key to her brother’s release must remain with her. Fast forward to present day Paris, and American journalist Julia (Kristin Scott Thomas) is walking through the same apartment with her French husband and their 12 year old daughter, considering renovating this, his family home. Julia, charged with writing an article on the Vél’ d’hiv’, begins researching the facts of the round-up – inadvertently discovering that her husband’s family home, acquired in August 1942, tells a story of its own. To escape statistics, a researcher tells Julia, you need to put a face and a reality to each individual destiny – Sarah’s story, then, turns out to be a destiny that will not only open up the reality of the Vél’ d’hiv’, but Julia’s own reality.

We discover more about Sarah just as Julia does, and the film alternates between modern-day Paris and the past, to allow both their stories to be revealed slowly and carefully. By times tense and anxious, the film doesn’t shy away from the brutality of the war, and the scenes at the Vélodrome in particular resonate strongly in our post-Hurricane Katrina modern world. We’re inside with Sarah and her family, crammed into the transport trucks, and packed onto straw beds – and we feel her fear as she strives to get back to her little brother before it’s too late. Julia’s relationship with her husband begins to break down as she discovers more about Sarah, further exasperated by a pregnancy that her husband wants aborted.

The flashbacks never feel lazy, but offer continuing linear support for Julia’s tale – operating as narrative exposition. The stories work towards a conclusion that draws both protagonists together, despite the 50-year gap in their tales, and the ending, while it couldn’t be called happy, still offers resolution. Julia tells us that when a story is told, it’s not forgotten, but becomes something else – by fictionalising a single face amongst the thousands of faceless, Sarah’s Key creates a movie about a much-covered subject, and manages to make it feel new again. Perhaps that ‘something else’, in this case, turns out to be simply a beautifully crafted movie, and a well told story.

Sarah Griffin

Sarah’s Key is released on DVD on 28th November, 2011.

  • Format: PAL
  • Region: Region 2
  • Number of discs: 1
  • Classification: 12
  • Studio: Studiocanal
  • DVD Release Date: 28 Nov 2011



DVD Review: The Runway


In 1983, the entire nation was captivated when a Mexican pilot crash-landed in Mallow, Cork. In those cash-strapped yet community minded times, building a runway was perhaps a real life metaphor for hopes and dreams taking flight. Writer/Director Ian Power’s feature debut reimagines these events as an immensely enjoyable family film centred on Paco (Kierans), a nine-year-old yearning for a father figure. In swoops the dashing but mysterious Columbian pilot, Ernesto (Bichir). Ernesto quickly charms the locals as well as Paco’s plucky single mom (Condon). Soon, the town full of unemployed factory workers pulls together to get the damaged plane airborne again.

Large chunks of the story echo E.T. and heavy doses of Spielbergian sentimentality abound, but this all works surprisingly well, and the plot’s occasional bumps are smoothed over by the film’s considerable charms. Like Spielberg at his best, Power and cinematographer PJ Dillon manage to capture the child’s eye view, where innocence is both precious and fleeting, and the adult world can be a scary place. The acting is terrific across the board and genuine humour is present throughout. The Runway is a simple and uplifting tale one would have to be a curmudgeon not to like.

Includes the special feature: ‘Making of’ Documentary

Shane Perez

The Runway is released on DVD on 7th October 2011

  • Format: PAL
  • Language: English
  • Subtitles: English
  • Region: Region 2
  • Number of discs: 1
  • Classification: PG
  • Studio: Element Pictures
  • DVD Release Date: 7th October 2011




DVD Review: Julia’s Eyes

Where's that tea towel?


When you stamp Mexican director and producer Guillermo del Toro’s name on a movie its appeal is sure to increase considerably. The visionary master of the gothic, fantastical and downright eerie lent his production hand to this atmospheric Spanish horror/thriller, reigning in his usual ghoulish visuals to help create something more of a psychological (yet at times shocking) affair.

Sara is blind, in her house during a power cut, visibly distressed and aggressively talking to an invisible man – or is he invisible? When she is found hanged in her basement, her twin sister Julia, who suffers from the same degenerative sight defect, is immediately sceptical that her sister’s death was suicide and goes on a dangerous quest to get to the bottom of her death. She soon finds herself being stalked by an evasive stranger with a camera, a shadow that always seems to be one step ahead of her. Unfortunately nobody believes Julia’s urgent insistence that there was someone else involved in Sara’s death – she is very much on her own and time is running out as her eyesight rapidly deteriorates and the shadow starts to become a very real threat.

Julia’s Eyes begins with a punch, an opening scene that captivates the viewer with a symphony of intrigue. It’s an irresistible premise, straddling the genres of horror and thriller, offering the promise of an uneven road encumbered with multiple twists and turns. Unfortunately the movie fails to deliver on the promise of the first thirty minutes, it soon begins to unravel as it loses the run of itself and by the closing scenes it appears to have morphed into somewhat of a mundane thriller.

That said the movie addresses a haunting concept: the fear of going blind, of losing independence and worst of all, of losing control. The director adapts some interesting and effective visual techniques in an effort to shift our perspective to that of Julia’s – from the moment her vision begins to fade we no longer see the faces of the people she encounters, we only glimpse the backs of heads or shots from the neck down which is both frustrating and wonderfully effective – suddenly the facial expressions we rely so heavily on to assess a character or a situation are withheld from us. We can begin to understand Julia’s frustration, her helplessness, her reliance on sound, sense and increasingly, on instinct. It certainly is an intriguing premise but too much emphasis lies on creating jumps and shock tactics to give the story breathing space and allow the narrative to come to fruition.

This was a slightly disappointing movie given its impressive beginning and its renowned producer but it is certainly worth the watch nonetheless.

Emma O’Donoghue

Julia’s Eyes is released on DVD on 12th September

  • Format: PAL
  • Language Spanish
  • Subtitles: English
  • Region: Region 2
  • Number of discs: 1
  • Classification: 15
  • Studio: Optimum Home Entertainment
  • DVD Release Date: 12th Sep 2011



DVD Review: A Film With Me in It


A Film with Me in It is a black comedy directed by Ian Fitzgibbon (Spin the Bottle, Perrier’s Bounty) and written by Mark Doherty who stars as the central character, a down and out actor living with his long suffering girlfriend (Amy Huberman). Along with his alcoholic writer/director/waiter friend played by comedian Dylan Moran and his paraplegic brother (David O’Doherty), they carve out a bleak existence in their run down flat, sea-side benches and local pubs in Dublin.

Mark and Pierce are both unemployed and have grand plans to produce the next big blockbuster. Then, their lives are changed through a series of unfortunate accidents that befall those who enter the flat. Mark looks to Pierce for advice and the two friends attempt to figure out a way of dealing with their predicament, musing over possible explanations as though they were coming up with ideas for films.

The influences of Withnail & I and Shaun of the Dead are evident in both the style and content and similar to these films, the dynamic between the two main characters is central. There are some great comedic moments and Moran’s performance stands out, particularly in a scene where he attempts to introduce himself at an alcoholics anonymous meeting. Mark and Pierce’s attempt to re-write the day’s events as different film plots frames the storyline well and the film is bookended by amusing cameos. Doherty’s sad clown and Moran’s amoral alcoholic are mostly well delivered but can be so deadpan that the dialogue between them occasionally fell flat.

The story is clever but the dramatic tension and the comedy do not build as expected once the accidents begin. The pace is slow moving at the point when it should be the most absorbing part of the film. The film uses extreme high and low camera angles and the tone is dominated by blue and grey hues in the style of a high concept thriller. This style follows on from the successful pastiching of Hollywood film appropriated by Shaun of the Dead, but in this case, the style conflicts with the storyline. These elements appear to be the director’s attempt to create the tension and excitement that is missing in the action of the film.

Overall it is entertaining and has its comedic moments but the forced style and lack of chemistry between the two main characters at the most crucial points leaves a potentially strong story unrealised.

Extras include a making of documentary.

Soracha Pelan Ó Treasaigh

A Film with Me in It is released on DVD  on 30th September
• Format: Import, PAL, Widescreen
• Aspect Ratio: 1.77:1
• Language English
• Audio: Dolby Digital 5.1 Dolby Digital Stereo
• Region: All Regions
• Studio: Parallel Film Productions
• Run Time: 83 minutes


DVD Review: Shaolin

shaolin_ DVD

You’ve seen Shaolin before. Trust me, you have.

So it’s actually to this redemptive tale’s eternal credit that it feels fresh, exciting and poignant. Chronicling the fall from grace of a hardened warlord to his eventual/inevitable embrace of spiritual ideology, Shaolin echoes the underlying salvation narrative of titles such as Fearless and The Last Samurai.

But Shaolin’s got a whole lot more going for it than that!

Inspired more by the cultural impact of Jet Li’s 1982 debut The Shaolin Temple than anything else, Shaolin is an allegory for eastern physicality on western ballistics, Asian spirituality and European militarism. Shaolin actually bridges a socio-cultural divide in terms of action, plotting and relevance.

But you’ll probably be having too much fun to notice.

Shaolin is peppered with tastes and teasers of exquisitely choreographed action by Cory Yuen (Transporter, Kiss of the Dragon, X-Men.) The stunt-work should have you rewinding regularly, while the practical and particle effects will see you retrieving your jaw from the floor with regularity.

Specifically the assault upon the Shaolin Temple; I’ve no idea why cascading debris is so pretty, but it is.

And although leading man Andy Lau isn’t a natural martial artist, he composes himself well during the copious action scenes. Meanwhile the presence of veterans likes Wu Jing, Xiong Xinxin and, of course, Jackie Chan elevates the standard far beyond anything you’ll see in cinemas this summer.

In terms of sheer visceral thrill, Shaolin schools Hollywood in how precisely to bust blocks!

Yuen has distilled a signature style which tastes equal parts east and west. Examples include a breathless foot to horse to carriage chase scene, and a staggering half hour climax splicing explosions, bone crunching stunts, subtle wirework, modest CG enhancement and kinetic brawls.

Not that it’s all spinning heel kicks and exploding monasteries. As expected, Andy Lau lights up the screen and is likely to prove a magnet for your affections, and maybe even a few tears. But it’s the effort from the support cast that rounds this feature so well. From Nicholas Tse’s always lurking menace to Jackie’s criminally underrated conviction, save for a few moments of clichéd symbolism, each and every scene has a performance to draw you in.

Shaolin isn’t flawless by any stretch. But save for a few choppy takes, a (justifiable) lull in the middle act and some inexplicably woeful English language ‘actors’, director Benny Chan has crafted his best effort to date.

And he did this by keeping his plot concise, his cast honest, his crew diligent, and his money-shots, well, bountiful.

Combined with last month’s DVD release of Detective Dee, Chinese Cinema once again cements itself as the premier source of action-packed adventure flicks. And while Detective Dee brimmed with imagination and intelligence, Shaolin overflows with sentiment and principle.

If you’ve access to a telly, a DVD player and a pair of eyeballs, you really should be watching Shaolin. As in, right now!

Jack McGlynn

Shaolin is released on DVD & Blu-Ray on 12th September

Format: Anamorphic, Dolby, PAL, Widescreen
Language English, Mandarin Chinese
Region: Region 2 (This DVD may not be viewable outside Europe. Read more about DVD formats.)
Number of discs: 2
Classification: 15
Studio: Cine-Asia
DVD Release Date: 12th Sep 2011


DVD Review: Love and Other Impossible Pursuits

Love and Other Impossible Pursuits, Natalie Portman


Emilia (Natalie Portman), a young lawyer living in New York, has a lot on her plate. She is grieving the loss of her infant daughter Isabel who tragically died only a few days after birth, and her despair is beginning to cause a strain on her marriage to Jack (Scott Cohen). Not only is she grappling with this seemingly unbearable tragedy, she is also attempting to form a relationship with her sensitive young stepson William (a very convincing Charlie Tahan), while warding off the sneers of the women in her neighbourhood and the bitter admonishments of Jack’s ex-wife Carolyn (Lisa Kudrow in angry Phoebe mode). It quickly transpires through flashback that Jack was still married to Carolyn when he and Emilia began their love affair and now Emilia has earned a reputation for being a homewrecker. It is clear that she is suffering from the difficult and painful consequences of a relationship born from infidelity. She also has an overbearing father complex that doesn’t remotely justify but explains some of her actions.

Admittedly, I had not read the book of the same title by Ayelet Waldman, nor was I familiar with the story before watching this, so I had absolutely no expectations. This is one of those movies that leaves you muddled; I found myself immediately questioning my ability to sympathise with a young woman who has wilfully seduced a married man, torn apart a family, and still expects affection from her distressed stepson. While I can certainly sympathise with a woman grieving for the loss of her baby, Emilia’s behaviour throughout the movie does not make her a wonderfully appealing character. Bearing in mind that this is a woman in the midst of a grievous and life-altering tragedy, flashbacks from before Isabel was even born would still indicate this is a fairly reckless and often thoughtless individual.

Portman has displayed her prowess as a compelling actress on many occasions and she excels in this role; it is a performance that pulls firmly on the heartstrings and to some extent it works. The relationship between Emilia and William is portrayed in a realistic and sensitive fashion; Emilia finds it difficult to maintain the balance between friend and mother figure, and while William regards her with suspicion, he shows a willingness to engage with her; like any child he only craves affection and acceptance. As the movie progresses your sympathies change as you are forced to accept the reality that good people do bad things and carry the burden of their actions around with them – they berate and judge themselves just as much as others berate and judge them.

This movie looks at the uglier side of humanity, the bad choices, the outbursts, the manipulation and the cruelty that even people with the best of intentions can exhibit. However it also deals with love, and strives for hope. Human beings are fractured creatures and it can be difficult to accept that. It is also a movie about forgiveness, how hard it can be to offer it to another and how a life without it – forgiveness of another and of the self – can be raw and despairing.

That said I couldn’t say I particularly loved any of the characters in this movie, but I appreciated the concept and the intention. There is a sense, perhaps, that this is trying to be cleverer than it is, and while it does touch on some interesting ideas it never lingers long enough on any of them to really analyse them satisfactorily. It would seem it is simply trying to concentrate on too much in a ninety-minute space.

I didn’t find this movie particularly original, but it is a thought-provoking and poignant glimpse into how ordinary people cope in difficult situations, and it’s worth mentioning that it is also beautifully shot. Ultimately this movie is a stark reminder that in life nothing is black and white, and even grey comes in many shades.

Emma O’Donoghue

Love and Other Impossible Pursuits is released on DVD & Blu-Ray on 29th August 2011

• Format: PAL
• Region: Region 2
• Number of discs: 1
• Classification: 18
• Studio: Showbox
• DVD Release Date: 29th Aug 2011


DVD Review: The Extraordinary Adventures of Adele Blanc Sec



An industry unto himself in his native France, Luc Besson returns to the live action arena for another slice of fantasy whimsy after the animated Arthur series with The Extraordinary Adventures of Adele Blanc Sec, a broad family-friendly adaptation of Jacques Tardi’s Franco-Belgian comic book series about an intrepid Indiana Jones-like heroine and her amazing adventures in pre-and post World War I Paris.

In what appears to be the first in a series or possible franchise, we are introduced to our fetching protagonist played by Louise Bourgoin in Egypt as she attempts to track down a mummified physician from the times of the Pharoahs needing said mummy to be brought back to life to cure her coma-induced sister. And… hang on a second! There’s plenty more story here and this all happens within the twenty minutes!

She is also being pursued by her arch nemesis Dieuleveut who is portrayed by an unrecognizable Mathieu Almaric in quasi- Gestapo garb and while in Egypt, her old codger accomplice Professor Esperandieu (Jacky Nercessian) accidentally hatches a 136 million year old Pterodactyl egg being kept in the Natural History Museum back to life with his telepathic abilities where the creature proceeds to cause some Parisian havoc. Phew!

Okay, so Besson throws us head and feet first into this world at a breathless pace without much pause or explanation for the uninitiated. Some exposition is delivered but at such a clip that it seems Besson is in a hurry to get to the films open-ended climax. I was completely uninformed about the character’s cultural importance going in so the films avoidance of the typically laborious, spoonfeeding Hollywood style was like a breath of fresh air.

Anchoring the freewheeling plot is a delightful performance from Bourgoin as the feisty Adele Blanc Sec. She displays a light touch throughout and aside from a not particularly amusing sequence in which she dons several latex disguises shows a far lighter touch than her co-stars who, when not mugging amidst Besson and Arbogasts Gilliam-esque compositions, are lumbered with ridiculous facial hair or grotesque make-up which renders them all but one dimensional cartoons.

Though, to be fair this extreme style seems intentional along with the buffoonish characterization of authority figures. Gilles Lellouche as Inspector Caponi suffers constant indignity throughout in a laborious running gag involving his unsatiated appetite for food.

Whilst sitting through this admittedly entertaining trifle, it was difficult to reconcile this mostly family-friendly excursion with Besson’s previous work – violent action melodramas such as La Femme Nikita and Leon which made his reputation. To see Besson return to more adult-oriented material and utlilize his considerable technical chops on something with a bit more meat to it may take a while though seeing that this potential franchise and the Arthur series pretty much keep his studio Europa Films afloat.

A strange, unwieldly combination of adventure, low comedy, fantasy and romance directed in a manner that suggests Spielberg colliding with Jeunet, Adele Blanc Sec is a charming, beautifully designed, often stupid but never less then enjoyable yarn; a Gallic version of old-ashioned adventure serials albeit with added nudity, satire and gags involving pterodactyl faeces.

The extras include:

  • Making of
  • Interviews with Luc Besson and Louise Bourgoin
  • In the Studio
  • Cinemoi interview with Luc Besson

Derek Mc Donnell

The Extraordinary Adventures of Adele Blanc Sec is releases on DVD & Blu-Ray on 15th August 2011

  • Number of discs: 1
  • Classification: 12
  • Studio: Optimum Home Entertainment
  • DVD Release Date: 15 Aug 2011



DVD Review: Source Code

DIR: Duncan Jones • WRI: Ben Ripley • PRO: Mark Gordon, Philippe Rousselet, Jordan Wynn • DOP: Don Burgess • ED: Paul Hirsch • DES: Barry Chusid • Cast: Jake Gyllenhaal, Michelle Monaghan, Vera Farmiga

It ain’t going to be film of the year but it is definitely worth a look. There are some narrative flaws but Duncan Jones’ sci-fi thriller is very much engaging and explores some very interesting concepts, for example the manner in which it addresses some major issues of humanity, free will and identity. These issues are explored utilizing the central character, a soldier named Colter Stevens who is played by Jake Gyllenhaal. We learn that he has been thrust into an operation that he was forced into. The chemistry between Stevens and Christina played nicely by Michelle Monaghan made for some believable romantic moments and provided a way for us to learn more about Stevens aside from the complex, intense and crazy situation he has been planted in.

What irritated me slightly about the film is that it seemed in some ways just like a real star vehicle for Jake Gyllenhaal, however his performance is impressive and he is extremely likeable from the first scene until the complex ending, which I will not elaborate on. He wakes up in the body of another man, who seems to be just a regular guy. He is informed that he is part of a mission to source the culprit of a bomb attack on a Chicago train by becoming a passenger on that train for the last eight minutes before it blows up and to try and find the bomber so that further attacks can be prevented. He looks like himself to us but when he looks at his reflection he sees that he is in fact in another man’s body and is sitting opposite a young woman who is blissfully unaware that he is anything but this other man.
One of the main things I enjoyed about the film was the witty dialogue. The encounters that Stevens (Gyllenhaal) has with passengers made for some light-hearted humourous moments, which were badly needed given the intensity and confusion of the other part of the film, as Stevens tries to complete the mission through a simulation program called the ‘source code’ that allows him to jump in and out of a man’s body for the last eight minutes of a train journey before a bomb goes off while simultaneously trying to process how exactly any of it is possible.

One of the negatives of the film was the portrayal of Dr. Rutledge, the man who conceived of the ‘source code’ by Jeffrey Wright. He was far too mad scientist and the mystery around him and the details of his operation diluted the potential of the film as a whole as it was poor plot development.

Worth watching, perhaps not if you are very tired or hungover as you will just have no idea what is going on… A treat for Jake Gyllenhaal fans though for certain!

Special Features:

  • Audio commentary with Jake Gyllenhaal, director Duncan Jones and writer Ben Ripley
  • Cast and crew insights
  • Focal points
  • Expert Intel – The Science Behind Source Code
  • Access Source Code: Trivia track

Órla Walshe

Source Code is availabe on DVD on 18th August 2011

  • Number of discs: 2
  • Classification: 12
  • Studio: Optimum Home Entertainment
  • DVD Release Date: 15 Aug 2011



DVD: Source Code

DIR: Duncan Jones • WRI: Ben Ripley • PRO: Mark Gordon, Philippe Rousselet, Jordan Wynn • DOP: Don Burgess • ED: Paul Hirsch • DES: Barry Chusid • Cast: Jake Gyllenhaal, Michelle Monaghan, Vera Farmiga

It ain’t going to be film of the year but it is definitely worth a look. There are some narrative flaws but Duncan Jones’ sci-fi thriller is very much engaging and explores some very interesting concepts, for example the manner in which it addresses some major issues of humanity, free will and identity. These issues are explored utilizing the central character, a soldier named Colter Stevens who is played by Jake Gyllenhaal. We learn that he has been thrust into an operation that he was forced into. The chemistry between Stevens and Christina played nicely by Michelle Monaghan made for some believable romantic moments and provided a way for us to learn more about Stevens aside from the complex, intense and crazy situation he has been planted in.

What irritated me slightly about the film is that it seemed in some ways just like a real star vehicle for Jake Gyllenhaal, however his performance is impressive and he is extremely likeable from the first scene until the complex ending, which I will not elaborate on. He wakes up in the body of another man, who seems to be just a regular guy. He is informed that he is part of a mission to source the culprit of a bomb attack on a Chicago train by becoming a passenger on that train for the last eight minutes before it blows up and to try and find the bomber so that further attacks can be prevented. He looks like himself to us but when he looks at his reflection he sees that he is in fact in another man’s body and is sitting opposite a young woman who is blissfully unaware that he is anything but this other man.
One of the main things I enjoyed about the film was the witty dialogue. The encounters that Stevens (Gyllenhaal) has with passengers made for some light-hearted humourous moments, which were badly needed given the intensity and confusion of the other part of the film, as Stevens tries to complete the mission through a simulation program called the ‘source code’ that allows him to jump in and out of a man’s body for the last eight minutes of a train journey before a bomb goes off while simultaneously trying to process how exactly any of it is possible.

One of the negatives of the film was the portrayal of Dr. Rutledge, the man who conceived of the ‘source code’ by Jeffrey Wright. He was far too mad scientist and the mystery around him and the details of his operation diluted the potential of the film as a whole as it was poor plot development.

Worth watching, perhaps not if you are very tired or hungover as you will just have no idea what is going on… A treat for Jake Gyllenhaal fans though for certain!

Órla Walshe

Source Code is availabe on DVD on 18th August 2011


DVD: 'Night & Fog' & 'Hiroshima Mon Amour' (Alain Resnais)

Alain Resnais is one of the most famous French filmmakers of the Nouvelle Vague period; but while a revolutionary in his own right, his films are too stylistically different to be considered a real part of that movement.

As part of an upcoming retrospective of the 89-year-old director’s work at the BFI, Optimum have re-released two of his most famous works on DVD.

Night & Fog

Resnais’s first films were documentaries, and none has been more influential or important as Night & Fog. Made just 10 years after the end of World War II, this documentary was one of the first to dare to explore the terrible history and impact of the Holocaust.

Brevity is not something we associate with films about the Holocaust. Schindler’s List and The Pianist both run at over 150 minutes, while Shoah, the most famous of all Holocaust documentaries, is an exhausting 10 hours. Night & Fog, however, is just half an hour long, but loses none of its emotional punch in the process.

Juxtaposing black and white newsreel footage of the rise of Nazism and the Holocaust with contemporary colour footage of deserted, weed-infested concentration camps 10 years after the war’s end, the film relies on the power of this imagery and a pensive, sorrowful voiceover that lays out the monstrous facts and figures.

The film raises questions not about how this was allowed to happen, but about how we deal with the reality that it did. Any road in any town can lead to a concentration camp, Night & Fog reminds us, challenging us to never forget. Eschewing interviews with those who experienced (or assisted) in the genocide, the only ‘survivors’ on film are the structures of Auschwitz – discussed as much in terms of their architectural design as in the horrors that went on within them.

Harrowing, but brief, Night & Fog should be seen by anyone who is unwilling to study the Holocaust in depth. It reminds us, not that the Holocaust happened, but that it is still with us – the buildings remain, the survivors live on, the dead remain the dead.

Resnais’s first feature film came four years later, and came as a reaction to requests to make a similar documentary to Night & Fog about the atomic bomb.

Hiroshima Mon Amour

Hiroshima Mon Amour starts out in a very similar manner to his documentary work. The first 10 minutes consist of the film’s heroine, played hauntingly by Emmanuelle Riva, narrating what she saw on a visit to Hiroshima and is unable to forget. Documentary images of the aftermath of the bombing – some just as agonising to behold as those in Night & Fog – accompany this introduction, not to force the film in a preachy direction, but to set a background to the film that its protagonists cannot escape.

The story opens on our unnamed heroine, a French actress shooting a film ‘about peace’ in the city, engaged in a brief affair with a Japanese man, played by a stern Eiji Okada. In a style more familiar to audiences now from Richard Linklater’s Before… films, Hiroshima… follows the passionate couple’s conversations in the last hours before they must part; she returning to her homeland, he returning to his wife.

The pair discusses their pasts and presents – the shadow of the war and the mushroom cloud ever present – with the conversation always returning to the heroine’s first love, a German soldier she loved, and was punished cruelly for loving, during the war.

Beautifully shot, the film frames the couple as inseparable and yet torn asunder. At times their bodies are so coiled together you can hardly tell where one begins and the other ends; at others they stand distant, aware of the impossibility of their love. In one scene the couple continue their hopeless debate sitting on a bench on either side of an elderly Japanese woman – the elderly woman eavesdrops despite the language barrier, another sign that the history of this city and the culture clash will always come between them.

Featuring a score that surprisingly blends Western and Eastern music, the film also highlights the clash of cultures in its visuals – the gaudy neon of rebuilt Hiroshima contrasts dramatically with flashbacks to the French town of Nevers (the location filming was shot by two different cinematographers, and it shows).

Slow and pensive, Hiroshima demonstrates all of the skills that would go into Resnais’s greatest work, Last Year at Marienbad, two years later, and yet remains a groundbreaking classic in its own right. A love story for those who have felt passion but not known if they could ever act on it.

David Neary

Night & Fog and Hiroshima Mon Amour are released on DVD  on 25th July


Night & Fog

  • Format: PAL
  • Language French
  • Subtitles: English
  • Region: Region 2
  • Number of discs: 1
  • Classification: 15
  • Studio: Optimum Home Entertainment
  • DVD Release Date: 25th July 2011

Hiroshima Mon Amour

  • Format: PAL
  • Language French
  • Subtitles: English
  • Region: Region 2
  • Number of discs: 1
  • Classification: 12
  • Studio: Optimum Home Entertainment
  • DVD Release Date: 25th July 2011