Irish Golden Globe® Nominations


Colin Farrell received a Golden Globe® nomination (Best Performance by an Actor in a Motion Picture – Musical or Comedy) for his performance in The Lobster.

Ruth Negga was also nominated (Best Performance by an Actress in a Motion Picture – Drama) for her performance in Jeff Nichols’s Loving, which is on its way into Irish cinemas 3rd Feb 2017.

John Carney’s Sing Street received a nomination for best comedy or musical film.

And Caitriona Balfe has been nominated for best actress in a TV series for the sci-fi drama Outlander.

Speaking on Colin Farrell’s nomination, Element Pictures producer Ed Guiney commented: “We are delighted that Colin’s brilliant performance in The Lobster has been recognised by the Hollywood Foreign Press Association, it’s so richly deserved.”

The Lobster grossed over €2 million in the UK/Irish box-office and took almost $10 million in the US.

The Lobster is directed by Yorgos Lanthimos and written by Lanthimos and Efthimis Filippo, produced by Ed Guiney, Lee Magiday, Ceci Dempsey and Yorgos Lanthimos. Executive Producers are Andrew Lowe, Tessa Ross and Sam Lavender.  Alongside Colin Farrell, the film features Rachel Weisz, Lea Seydoux, John C Reilly, Ben , Olivia Colman and Michael Smiley.

Colin Farrell, Yorgos Lanthimos and Ed Guiney will re-unite for their next project The Killing of A Sacred Deer, which was shot in Cincinnati this Autumn.  Nicole Kidman also stars as the wife of Farrell’s character.

The 74th annual Golden Globe® awards will take place on January 8th.

Best Motion Picture – Drama
Hacksaw Ridge
Hell Or High Water
Manchester By The Sea

Best Performance by an Actor in a Motion Picture – Drama
Rami Malek
Bob Odenkirk
Matthew Rhys
Liev Scrieibler
Billy Bob Thornton

Best Director – Motion Picture:
Damien Chazelle
Tom Ford
Mel Gibson
Barry Jenkins
Kenneth Lonergan

Best Performance by an Actress in a Motion Picture – Musical or Comedy
Annette Bening
Lily Collins
Hailee Steinfeld
Emma Stone
Meryl Streep

Best Television Series – Drama
The Crown
Game Of Thrones
Stranger Things
This Is Us

Best Motion Picture – Musical or Comedy
20th Century Women
La La Land
Florence Foster Jenkins
Sing Street

Best Performance by an Actress in a Motion Picture – Drama
Ruth Negga
Amy Adams
Jessica Chastain
Natalie Porton

Best Performance by an Actor in a Motion Picture – Drama
Casey Affleck
Joel Edgerton
Andrew Garfield
Viggo Mortensen
Denzel Washington

Best Performance by an Actor in a Television Series – Musical or Comedy
Anthony Anderson
Gael Garcia Bernal
Donald Glover
Nick Nolte
Jeffrey Tambor

Best Performance by an Actress In A Television Series – Drama
Caitriona Balfe
Claire Foy
Keri Russell
Winona Ryder
Evan Rachel Wood

Best Performance by an Actress in a Supporting Role in any Motion Picture
Viola Davis
Naomie Harris
Nicole Kidman
Octavia Spencer
Michelle Williams

Best Performance by an Actor in a Motion Picture – Musical or Comedy
Colin Farrell
Ryan Gosling
Hugh Grant
Jonah Hill
Ryan Reynolds

Best Original Song – Motion Picture
Cant Stop The Feeling, Trolls
City Of Stars, La La Land
Faith, Sing
Gold, Gold
How Far I’ll Go, Moana

Best Performance by an Actor in a Limited Series or Motion Picture Made for Television
Riz Ahmed, The Night Of
Bryan Cranston, All The Way
Tom Hiddleston, The Night Manager
John Turturro, The Night Of
Courtney B Vance, The People Vs OJ

Best Television Series – Musical or Comedy
Mozart In The Jungle

Best Original Score – Motion Picture
La La Land
Hidden Figures

Best Performance by an Actress in a Limited Series or Motion Picture Made for Television
Olivia Colman, The Night Manager
Lena Heady, Game Of Thrones
Chrissy Metz
Mandy Moore
Thandie Newton, Westworld

Best Motion Picture – Animated
Kubo and the Two Strings
My Life As A Zucchini

Best Performance by an Actress in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television
Felicity Huffman, American Crime
Riley Keough
Sarah Paulson
Charlotte Rampling
Kerry Washington, Confirmation

Best Performance by an Actor in a Supporting Role in a Series, Limited Series or Motion Picture Made for Television
Sterling K Brown
Hugh Laurie
John Lithgow
Christian Slater
John Travolta

Best Motion Picture – Foreign Language
The Salesman
Toni Erdmann

Best Performance by an Actress in a Television Series – Musical or Comedy
Rachel Bloom
Julia Louis-Dreyfus
Sarah Jessica Parker
Issa Rae
Gina Rodriguez
Tracee Ellis-Ross

Best Limited Series
American Crime
The Dresser
The Night Manager
The Night Of
The People V OJ Simpson

Best Original Screenplay
La La Land
Nocturnal Animals
Manchester By The Sea
Hell Or High Water




Irish Film Review: The Lobster


DIR: Yorgos Lanthimos • WRI: Yorgos Lanthimos, Efthymis Filippou • PRO: Ceci Dempsey, Ed Guiney, Yorgos Lanthimos, Lee Magiday • DOP: Thimios Bakatakis • ED: Yorgos Mavropsaridis • DES: Jacqueline Abrahams • CAST: Colin Farrell, Léa Seydoux, Rachel Weisz


Yorgos Lanthimos’ The Lobster can be perceived to be any number of things – surreal comedy,  dystopian sci-fi, romance, drama, prison thriller – and all these genres it may be, but these are just the surface stylings of a director who has given one of the sharpest relationship satires in recent years. It’s like an Owen Wilson rom-com, doused in David Lynch’s bitter coffee and peppered with British absurdist humour. The movie is silly and ridiculous, but at times can demonstrate subtle poignancy and moments of graphic violence. It’s a postmodern dark comedy, where the world has fallen under a sort of Tinder fascism. It’s as if the dating app got sponsored by Hugo Boss and started whistling Wagner, wingmen becoming spies, and mothers Gestapo. A world where being single is a crime and if your relationship is on the rocks, you’re sentenced to be a parent. This is the world that Lanthimos has created for us and it’s a riot.

It takes a while for The Lobster to break out of its shell because it’s so different from conventional relationship comedies; heck, it’s even off the wall for most offbeat comedies. You start to wonder if it is trying too hard, using its quirkiness as compensation for humour, but soon you succumb to Lanthimos’ charm and it’s hard to deny his sheer dedication to his vision. He goes all the way with it unapologetically and that in itself becomes admirable.

The Lobster stars Colin Farrell as David, the only character given a Christian name as the rest of the cast are merely named after their job role or physical attribute. The film is narrated by Rachel Weisz, who doesn’t actually appear in the story until well into the second act. David is a tubby shell of a man with a thick moustache that suits his introvert personality. His wife has left him for another man, and in the world of The Lobster this now disqualifies David from living in general society and he is relocated to a hotel outside the city.

At the hotel he has 45 days to find a partner or he will be downgraded to another species of his choice. He chooses a lobster, which is an excellent choice according to the Hotel Manager (Olivia Colman), who explains most singletons choose dogs, hence why dogs are so common. The hotel boasts an array of eccentric characters – Lisping Man (John C. Reilly), Limping Man (Ben Whishaw), Biscuit Woman (Ashley Jensen) and Heartless Woman (Angeliki Papoulia) – all of which add to the bizarre.

Their activities include swimming, dancing, seminars and hunting the Loners in the woods. The Loners are people, who refuse to conform to society’s relationship pressures. They are single fundamentalists, who are planning a revolt. Both the Loners in the forest and the guests/inmates of the hotel must abide to a strict set of rules. In the Loner tribe one must not kiss or they shall have their lips cut off. In fact they don’t allow any fraternising at all, only a healthy diet of techno music and masturbation. Reminds me of college… hell it reminds me of last weekend. The hotel on the other hand forbids masturbation, which the Lisping Man finds out in a sadistic way involving a toaster.

There’s also forms of torture carried out every morning for the male inmates. Torture by grind. The maids grind up against the men to the moment right before they make spectacles of themselves and then stop. This is obviously why so many find it difficult to get around rule no.1. There are scenes of disturbing violence involving toasters, suicides and nosebleeds that are more effective than some horror movies. The film’s surreal humour delivered in deadpan dialogue might go over some people’s heads, especially when blended with the moments of extreme violence. However, if you’re a fan of British absurd comedy such as Brass Eye or Look Around You, then you’ll feel right at home.

Although, it isn’t necessarily the abstract that gets the biggest laughs. The biting satire and attention to detail is what rates high on the LOL scale. The focus of a relationship built on lies marks the funniest moments in The Lobster. Like when the Limping Man, out of sheer desperation, smashes his face off hard objects so it appears he has more in common with the Nosebleed Woman (Jessica Barden). Or when David must pretend to be a despicable and cynical human being in order to match up with the Heartless Woman. The surreal and extreme circumstances reflect a certain breed of people in our society. It illustrates insecurity among us, who pretend to be someone we’re not in order to escape loneliness.

When David is caught for his deceptions he escapes the hotel and joins the Loners. This is where we finally meet our narrator, the Shortsighted Woman, who David becomes extremely fond of. During their routine drills, preparing for the revolt, Shortsighted Woman and David genuinely fall in love, naturally in a loveless community. They must reserve their feelings or they could face a worse fate than slashed lips. The Loner Leader (Lea Seydoux) is a French Resistance type commander, who keeps a close eye on the secret couple. David and Shortsighted woman disguise their emotions through a communication of complex sign language. They camouflage themselves against the damp bark of the forest trees, as more and more animals pass them by as if they were in the Garden of Eden.

The Loners sometimes take trips to the city. Actually, they’re more like secret missions as they go undercover as couples to blend in with society. These scenes are reminiscent of science fiction such as The Invasion of the Body Snatchers or Soylent Green. Between moments of outlandish humour, disturbing violence and Big Brother-style paranoia, The Lobster still finds time for occasional tenderness between David and Shortsighted Woman, as their battle against everyone makes their love enduring.

It is quite a miracle Lanthimos got this film to work. Not because of how leftfield it is, but because of the amount of international input that excels in it. A Greek director, British, Irish, American and Dutch producers, shot in Ireland and with a plateau of multinational actors. The question isn’t really how did a film like this get made, but rather how could a film like this be so funny.

Going into The Lobster, I was slightly pessimistic and, truth be told, it took some time for me to warm up to it. Not that I didn’t get it, but my confidence in Colin Farrell was shaky at best. In my experience, he can be hit or miss with comedy, unless he has a strong writer behind him. Admittedly, not knowing much anything about Yorgos Lanthimos only served to heighten my suspicions. But I fell victim to its charm, and although it demands a second viewing, The Lobster will remain one of the most interesting movies of the year and originally fresh comedy in years.

   Cormac O’Meara

15A (see IFCO for details)


The Lobster is released 16th October 2015






Capital Irish Film Festival: Audio Interview with producer Dave Farrell & actor Colin Farrell of ‘A Terrible Beauty’

A Terrible Beauty 1 (1).jpg.opt560x319o0,0s560x319Image: Hugh O’Conor

A Terrible Beauty/Áille an Uafáis screened at the Capital Irish Film Festival (5 – 8 February).  The 93-minute feature docudrama set during the Irish Rebellion of 1916 tells the largely untold story of displaced young men, women and children caught up in a chain of events which would have tragic consequences leaving many innocent people dead.

Adam McPartlan talks to producer Dave Farrell and actor Colin Farrell, who plays Frank Shouldice, about the film.

Interviews from the festival:

Capital Irish Film Festival: Audio Interview with Sinéad O’Brien, director of ‘Blood Fruit’

Capital Irish Film Festival: Audio Interview with Anne Anderson, the 17th Ambassador of Ireland to the United States

Capital Irish Film Festival: Audio Interview with Paddy Meskell, Chairman of the Board of Solas Nua


On The Reel At The IFTAs

Faasbender copy

Lynn Larkin (second left) closes in on Fassbender’s IFTA

On the Reel’s Lynn Larkin, in association with Film Ireland, hits the red carpet in her blue guna and and gets in among the celebs at the Irish Film and Television Awards ceremony, which took place at the DoubleTree by Hilton venue in Dublin 4 on Saturday, 5th April 2014.

Check out the video below and get the low-down on the night from Michael Fassbender, Colin Farrell, Liam Cunningham, Will Forte, Mary Murray, Amy Huberman,  Andrew Scott, Fionnula Flanagan, Antonia Campbell-Hughes



‘The Lobster’ Starts Shooting


Element Pictures have announced that principal photography started last week on The Lobster, the first English language film by Yorgos Lanthimos, whose Dogtooth won numerous international awards and was nominated for the Oscar® for Best Foreign Language Film. Shooting takes place over seven weeks on location in Ireland.


John C. Reilly, Ashley Jensen, Michael Smiley and Jessica Barden join the previously announced Colin Farrell, Rachel Weisz, Ben Whishaw, Léa Seydoux, Olivia Colman, Ariane Labed and Angeliki Papoulia.


A love story set in the near future where single people, according to the rules of The City, are arrested and transferred to The Hotel.  There they are obliged to find a matching mate in 45 days.  If they fail, they are transformed into an animal of their choosing and released into The Woods.  A desperate Man escapes from The Hotel to The Woods where The Loners live and falls in love, although it is against their rules.


The Lobster is co-written by Lanthimos and his long-time collaborator, award-winning Efthimis Filippou.


It is being produced by Element Pictures, Limp and Scarlet Films. Producers on the film are Lanthimos, Lee Magiday, Ed Guiney and Ceci Dempsey, with Element’s Andrew Lowe and Film4’s Tessa Ross and Sam Lavender acting as executive producers. Isabel Davis is the lead executive for the BFI Film Fund, and Rory Gilmartin for Bord Scannan na hEireann/Irish Film Board.
Partnering on the project are Christos V. Konstantakopoulos of Faliro House in Greece, Carole Scotta of Haut et Court (who will be both the French co-producer and distributor of the film) and Derk-Jan Warrink, Joost de Vries and Leontine Petit of Lemming Films in Holland.


The Lobster is being financed by Film4, Bord Scannan na hEireann/Irish Film Board, the BFI Film Fund (the first film through its minority co-production strand), Eurimages, Greek Film Centre, CNC, the Dutch Film Fund and Canal+.


From the Archive: Interview with Colin Farrell



Paul Farren caught up with Colin Farrell and talked to him about Phone Booth and working with Joel Schumacher.


Tell us a little bit about Phone Booth.


It’s about a guy, a publicist who has just lost the run of himself, buying his own hype a little too much and this bird he wants to bang, but he’s married and he never calls the bird from his mobile phone because his wife checks the bill. So he calls her from the phone booth before three o’clock every day. One day he calls and she says again she’s busy, he puts the phone down and it starts to ring and he picks it up thinking she might be trying to three sixty nine him. He answers the phone and a dude on the other end says isn’t it funny the phone rings and it could be anybody but it still has to be answered. He claims to be a sniper in one of the nearby buildings and says he will kill me if I hang up the phone. The next hour and fifteen minutes is about me and him getting closer and closer, but still worrying if he’s going to pull the trigger.


It was a really quick shoot, wasn’t it?


It was shot in twelve days, which by normal standards sounds like looper shooting. It was a fairly low budget and we rehearsed for three weeks. Which you never get to do on film.


Rehearsing like that must have been a bit of a treat?


Ah yeah it was great, it was fuckin’ deadly. We sat around the table for a week and a half talking through the script, which was a great script. We knew we only had twelve days to shoot so when we finally got down to the street we wanted to know what was happening. There were fifteen actors, three assistant directors, Joel and me. We talked about it and changed little bits and then took it out onto the street. We had a phone booth, so we could rehearse around it, cars parked, people moving around. It was very obvious where I was going to be: I was in the fuckin’ phone booth (laughs).


Your American accent seems flawless. Does it take a lot of work?


Thanks, yeah I prepped with a voice coach. Usually I like to do three or four weeks before a job and start workin’ on it. A few hours every day just working on the script, and working on sounds. Then listening to tapes of Americans that represent where that particular character is from. Just practice, practice, practice.


Tell us about working with Joel Schumacher.


It was a blast. I loved working with Joel. I met him first when he was meeting a load of actors for Tigerland and I got a call “Do you want to go to London and meet Joel Schumacher?” and of course I’m going to do it. So I met Schumacher for three minutes and I left the office thinking, “That’s a fuckin’ waste of me time.” Then he called from America, I went over and had two weeks of general meetings and read for it again and got it. After that came Phone Booth. I can’t wait to see it, I can’t fuckin’ wait, to see if it works.


Have you achieved much fame in the States since Tigerland?


Nobody knows who the fuck I am!


How do you think you’ll handle the fame game when it does kick in?


I’ve no idea. It’s not something I’d know how to prepare for even if I gave a fuck about trying to prepare for it.


Are you living in the States much?


No, no not at all, I don’t have to go. This is how lucky I am. I’ve skipped so many rungs on the ladder that I don’t have to submerge myself in Hollywood and Hollywood society because I’ve had so many opportunities out of nowhere. I can go for a week and do a load of meetings then get the fuck out of there and come back here and there’s a great thing called Fedex as well. I get scripts sent from L.A. and I read them in Irishtown, so I’m lucky that way. All you’d end up doin’ is just going to parties and getting in trouble (laughs).


This article originally appeared in Film Ireland Magazine, Issue 105 in 2002


Cinema Review: Dead Man Down



DIR: Niels Arden Oplev • WRI: J.H. Wyman • PRO: David Hoberman, Ryan Kavanaugh, Todd Lieberman, Hugo Shong, Andy Yan • DOP: Paul Cameron • ED: Timothy A. Good, Frédéric Thoraval • DES: Niels Sejer • Cast: Colin Farrell, Noomi Rapace, Terrence Howard

Director Niels Arden Oplev’s American theatrical debut Dead Man Down is disappointingly devoid of all the edgy appeal of his acclaimed Swedish feature The Girl with the Dragon Tattoo.

Set in New York, Colin Farrell plays the brooding and broken Hungarian immigrant Victor, who infiltrates the gang who killed his family in order to exact his bloody revenge. However, Victor’s plan is interrupted when his neighbour Beatrice (Noomi Rapace) discovers his dark secret and contracts him into a scheme to seek out her own grisly vengeance against the drunk driver who ruined her life.

Dead Man Down is unevenly paced throughout, at times simmering with the slow-burning intensity of a Scandinavian thriller before being catapulted forward with spectacles of explosions and ‘shoot ’em ups’ more at home in an Arnold Schwarzenegger movie.

The film gets off to a lingering start with a heartfelt speech about the meaning of life from Farrell’s friend and fellow mob henchman, a heavily tattooed Dominic Cooper. Ominous close-ups of Farrell’s anguished face and Thespian eyebrows convey most of the dramatic intensity in the first 20 minutes and we settle in for what we expect to be a calculated, grim and gritty crime thriller.

Then all hell breaks loose with a great deal of gunfire, Albanian mobsters sporting AK-47s in broad daylight, much clichéd dialogue between clichéd villains and a flashy finale that involves the hero crashing through the front of a house to save his girl.

The plot is filled with twists and turns that occasionally defy logic and more than once Oplev and screenwriter J.H. Wyman (The Mexican, TV’s Fringe) breeze over weaknesses in the plot to move the film along.

Farrell has only been living in New York for a couple of years and yet has a flawless Yankee accent (for an Irish actor) with no trace of his Hungarian roots. This is briskly explained by Farrell in the film when asked by Rapace where his Hungarian accent went, ‘I worked hard to get rid of it.’ How convenient.

Rapace, well-versed in playing tormented souls, (her role as the damaged Lisbeth Saunders in The Girl with the Dragon Tattoo was widely applauded), plays a woman so ‘disfigured’ by a car crash that the local scallywags throw stones at her and scrawl ‘Monster’ on her front door and yet, even with a few pink scars on her face, the Swedish actress is still more beautiful than most women on the planet.

Victor spends two years playing cat and mouse with the gang who murdered his wife and child, picking them off one by one and saving his full wrath for crime boss Alphonse Hoyt (Terrence Howard). Yet in all his painstakingly intricate and cautious planning, kills one gang member in his own apartment in full view of anyone who happens to be looking out of the window of the huge tower block of flats opposite. A supposedly fragile Beatrice films the whole thing on her phone before boldly securing a date with her known-murderer neighbour and insistently blackmailing him.

These inconsistencies (and they don’t end there) may have been easier to overlook if the film was brought to a clever and compelling ending, but the showy climax that resembles scenes from a Die Hard movie will disappoint an audience hoping for something better crafted.

Dead Man Down is a classic example of the actors outshining the film they were cast in. Farrell is a good enough actor to play this role in his sleep and yet the film doesn’t draw out his talents above and beyond the paint-by-numbers vested avenger character he was cast as. Rapace, whose interpretation of the complex Saunders in The Girl with... is also wasted in this role, and yet, it is the offbeat and tender romance between Victor and Beatrice, urged along by Beatrice’s quirky mother (Isabelle Huppert) that is the most watchable thing about the whole film.

Carmen Bryce

15A (see IFCO website for details)

117 mins
Dead Man Down is released on 3rd May 2013

Dead Man Down – Official Website


Cinema Review: Seven Psychopaths

DIR/WRI: Martin McDonagh • PRO: Graham Broadbent, Peter Czernin, Martin McDonagh • DOP: Ben Davis • ED: Lisa Gunning • DES: David Wasco • CAST: Christopher Walken, Sam Rockwell, Woody Harrelson, Tom Waits, Colin Farrell

Psychopaths make great movies. Or at least, psychopathic characters make for great movies. Just one psychopath can make for memorable viewing, such as Hannibal Lecter or, in TV land, Dexter. Seven psychopaths? Director Martin McDonagh hasn’t made your standard cinema fare in the past and he’s not about to start now.


McDonagh’s follow-up to the superb In Bruges reunites the director with Colin Farrell. Farrell plays the lead, Martin, a Hollywood screenwriter suffering from writer’s block with only the title of his next script committed to paper. The title of his script? ‘Seven Psychopaths’. So let’s recap – Seven Psychopaths is a movie about a screenwriter, named Martin, writing a movie called ‘Seven Psychopaths’. You’d be correct in thinking this not your average cinema material.


Seven Psychopaths is recognisable as a McDonagh production through its moments of shocking violence amidst prolonged spells of colourful language. The movie brings to mind similarly mind-bending ventures, such as anything by Charlie Kaufmann. It also recalls Kiss, Kiss, Bang, Bang as it playfully toys with Hollywood clichés. The movie jumps between the reality of McDonagh’s script and the fantasy of Martin’s script, with one bleeding into the other. McDonagh passes little heed on the innocent audience as he splices the two Hollywood worlds together, stopping just short of having his characters talk directly to the camera in a movie about moviemaking.


Farrell is given fantastic support from an array of actors that suit the title very nicely including Sam Rockwell, Christopher Walken, Woody Harrelson and Tom Waits; men for whom psychosis doesn’t seem much of a stretch. The cast relish McDonagh’s dialogue in a script where anything goes, and regularly does go. Watching Walken and Harrelson share the screen is a sight to behold. Each man trying to out-psychopath the other until they are literally gobbling up scenery as quickly as their maniacally toothy grins will allow. Okay, maybe not literally, but not far off either.


With Seven Psychopaths, McDonagh has taken another bold step in cementing his status as a truly fearless and original filmmaker at a time when studios are increasingly fearful of risky business.  You’d be crazy to miss out on this slice of madness.

Peter White

Rated 16 (see IFCO website for details)
110 mins

Seven Psychopaths, is released on 7th December 2012

Seven Psychopaths– Official Website


Cinema Review: Total Recall

DIR: Len Wiseman • WRI: Kurt Wimmer, Mark Bomback • PRO: Toby Jaffe, Neal H. Moritz • DOP: Paul Cameron • ED: Christian Wagner • DES: Patrick Tatopoulos • CAST: Colin Farrell, Bokeem Woodbine, Bryan Cranston, Kate Beckinsale

‘Get your arse to Mars!’ Anyone familiar with these legendary words, once beautifully mangled by Mr Schwarzeneggar, will have at least a passing interest in this remake of Total Recall. Regretfully, it isn’t a patch on the larger than life, cartoonish fun of the original. Strangely, though, it’s a disappointment that’s more like a regretful sigh than a heated diatribe.

The film starts out promisingly enough. One parkour-like sequence where Farrell and Beckinsale move through an M.C. Escher-style vision of the future is genuinely spectacular and the lead, Colin Farrell, is not in any way objectionable as Douglas Quaid/Hauser. He looks the part and turns in a perfectly creditable performance. But in the same way that double agent Hauser just doesn’t feel right living the life of Quaid, a simple factory worker, Farrell is let down by an unconvincing backstory. The whole world of the film has been designed to give an excuse for one ‘cool’ special effect.

I’ll say this for director Len Wiseman, the man knows how to make a pretty film. In the sci-fi genre, that’s a skill that rarely goes astray. But the man known for Underworld films should have given his apparent muse Kate Beckinsale a rest, as all that was missing from her one-note performance was a pair of fangs.

All in all, it’s a rather pretty but ultimately hollow effort – I’d rather recall, recall, recall, Total Recall (1990).

Niamh Creely

Rated 12A (see IFCO website for details)
118 mins
Total Recall is released on 29th August 2012

Total Recall – Official Website

Click here for an interview with the director of Total Recall, Len Wiseman


Cinema Review: Fright Night


Where does Dracula get all his jokes? From a crypt writer

DIR: Craig Gillespie • WRI: Marti Noxon • PRO: Michael De Luca, Michael J. Gaeta, Alison R. Rosenzweig • DOP: Javier Aguirresarobe • ED Tatiana S. Riegel • DES: Richard Bridgland • CAST: Anton Yelchin, Colin Farrell, David Tennant, Toni Collette, Christopher Mintz-Plasse

There seems to be a trend among horror remakes of late that those less widely known (The Hills Have Eyes, The Crazies) get a rather good remake, while the classics (Halloween, A Nightmare on Elm Street) get butchered, so to speak. The original Fright Night, while fondly remembered, falls firmly into the first category, and its remake is a solid if uninspired effort.

Anton Yelchin is the ex-geek who’s now in with the cool kids thanks to his super hot girlfriend Imogen Poots. But his ex BFF Christopher Mintz-Plasse is convinced that Yelchin’s new neighbour (Colin Farrell) is a vampire, and that he is the cause of all the missing kids in their school. From here on in the movie plays like a supernatural version of Disturbia, with the kid nobody believes trying to get evidence that his seemingly harmless neighbour is up to no good.
Thrown into the mix is David Tennant, a vampire specialist who funds his investigations with a tawdry OTT Vegas nightclub act. Channelling Russell Brand to the point of mimicry, Tennant has a ball with his campy character. In fact all of the actors bring their A-game to the table, even those whose roles are slightly underwritten (Toni Collette as Yelchin’s mom has nothing to do bar look at Farrell with lust for the first half of the movie, and then fear for the second half). Farrell aswell brings the correct mix of physical and sexual intimidation required of the role, even if his accent can never decide which side of the Atlantic to land on.

On the downside; the ending is quite rushed, the CGI effects on the vampires isn’t great, and while some of the 3D is impressive, it darkens the whole image down to the point that the night scenes are almost pitch black. And on the whole, the movie doesn’t really have much weight to it. It’s fun, but almost instantly forgettable. Which probably makes it the best Friday night movie of the year so far.

Rory Cashin

Rated 15A (see IFCO website for details)
Fright Night is released on 2nd September 2011

Fright Night – Official Website


Colin Farrell in 'Fright Night' and on 'Total Recall'

Ditching the comb-over for a set of fangs and a wife-beater, Colin Farrell is set to secure his teen heart throb status playing Jerry the vampire in the upcoming remake Fright Night. According to the chirpily enthusiastic website, Colin is the sexy-vamp-next-door.  According to Colin, ‘I was the horror.  …I had to watch not slipping into a Transylvanian accent because I’m a film fan (in Drac accent) “Whohahahah, Count Dra-coo-la”.’

Colin also talks about the making of (another remake!) Total Recall.  ‘There’s a lot of green screen in it but the green screen is forty yards away in the background to create this world of incredible grandiosity and detail. But, the world I’m in, forty yards in front of it, is a practical set that’s been built by amazing craftsmen so it’s not like I’m working with a tennis ball as Jar-Jar-Binks or anything.’

To read the full article and see more dreamy pictures of Colin, click here.



Two Mystery Movies added to 'MovieFest' in Cineworld 13th/14th August

Two ‘mystery movies’ have been added to the line-up of the inaugural Movie Fest, modelled on the massively successful ‘Comic Con’ annual event held in the US, taking place at Cineworld Cinemas in Dublin on 13th/14th August. 

 The event will showcase for the general public exclusive footage from upcoming Hollywood blockbusters along with a total of six screenings of Hollywood films not due for release until late 2011. 

Day tickets are available for purchase for the event, and each day will include three high-profile feature film previews, one of which will be a mystery movie, along with presentations from all major Hollywood studios.  These presentations will feature a huge selection of extensive never-before-seen footage and trailers from some of the most highly anticipated films of 2011 and 2012.  Everyone who purchases a ticket will also receive exclusive goodies over the course of the two days, to include exclusive merchandise from some of the hottest upcoming blockbusters.

The schedule on Saturday, 13th August kicks off at 10am and includes advance screenings of Colin Farrell’s latest film, Fright Night, along with The Change Up, the latest film from the writers of The Hangover, starring Ryan Reynolds and Jason Bateman, and the first mystery movie.  Sunday’s schedule includes advance screenings of the highly anticipated sci-fi / western Cowboys and Aliens starring Harrison Ford and Daniel Craig, plus 30 Minutes or Less, the latest film from the director of Zombieland, starring Jesse Eisenberg from The Social Network, and the second mystery movie.

(Jesse Eisenberg in 30 Minutes or Less)

The event will finish on both days at approx. 6.30pm, giving movie fans the chance to immerse themselves and whet their appetites for some of the biggest films due for release over the next year, with a surprise or two in store including specially recorded greetings from some A-list filmmakers and actors, including Jon Favreau and Guillermo Del Toro, short breaks will give the audience time to grab a quick coffee or lunch between films and presentations.

Both days will feature extensive presentations with several hours worth of exclusive footage and trailers on view, including material from the new Steven Soderbergh movie Haywire which was shot in Ireland, Don’t Be Afraid of the Dark from director Guillermo del Toro, Tower Heist starring Ben Stiller and Eddie Murphy, an exclusive four minute preview of The Adventures of TinTin, Stephen Spielberg’s upcoming epic, a selection of footage from the highly anticipated The Amazing Spider-Man, and a five minute clip from the new Total Recall, which also stars Colin Farrell and is currently shooting in Toronto.  There will also be an exclusive 13 minute first-look at Puss in Boots, the new Shrek spin-off, starring Antonio Banderas.

(Colin Farrell in Fright Night)

‘We’re thrilled to be able to announce two additional ‘mystery’ movies for audiences at Movie Fest to enjoy, and we’re sure they’ll love these choices.  We really wanted to bring an event for film fans to Dublin that had an air of genuine excitement around it,’ commented Vincent Donnelly, creator of Movie Fest.  ‘We had taken note of how huge Comic Con has become in the US, now attracting thousands of people and the biggest stars, and wanted to try to recreate some of that excitement here.  Irish audiences, among the most frequent moviegoers in the world, can sometimes be neglected when it comes to access to an all-inclusive event like this, and we wanted to make sure that while it was modelled on Comic Con, it’s a very unique event,’ he continued.  ‘There will be plenty of surprises over the weekend, and plenty of prizes and goody bags for members of the audience, so if you’re a movie fan, this is definitely the event for you.’

Movie Fest takes place at Cineworld Cinemas, Parnell Centre, Dublin on 13th/14th August, and the full schedule can be seen on  Day tickets, priced at €22.50, are also on sale from  



'Movie Fest' Two Day Event Brings The Excitement Of Comic Con To Dublin

The inaugural Movie Fest, modelled on the massively successful ‘Comic Con’ annual event held in the US, will take place at Cineworld Cinemas in Dublin on August 13th / 14th. The event will showcase, for the general public, exclusive footage from upcoming Hollywood blockbusters along with previews of Hollywood films not due for release until late 2011.

Day tickets are available for purchase for the event, and each day will include two high-profile feature film previews along with presentations from all major Hollywood studios. These presentations will feature a huge selection of extensive never-before-seen footage and trailers from some of the most highly anticipated films of 2011 and 2012.

The schedule on Saturday August 13th includes advance screenings of Colin Farrell’s latest film, Fright Night, along with The Change Up, the latest film from the writers of The Hangover, starring Ryan Reynolds and Jason Bateman. Sunday’s schedule includes advance screenings of the highly anticipated sci-fi / western Cowboys and Aliens starring Harrison Ford and Daniel Craig, plus 30 Minutes or Less, the latest film from the director of Zombieland, starring Jesse Eisenberg from The Social Network.

With the event taking place over the course of two full days, movie fans will be able to immerse themselves and whet their appetites for some of the biggest films due for release over the next year, with a surprise or two in store including specially recorded greetings from some A-list filmmakers and actors.

Both days will feature extensive presentations with several hours worth of exclusive footage and trailers on view, including material from Twilight: Breaking Dawn, the new Steven Soderbergh movie Haywire which was shot in Ireland, Don’t Be Afraid of the Dark from director Guillermo del Toro, Tower Heist starring Ben Stiller and Eddie Murphy, an exclusive four minute preview of The Adventures of TinTin, Steven Spielberg’s upcoming epic, 3D footage from the highly anticipated The Amazing Spider-Man, and a five minute clip from the new Total Recall.

‘We really wanted to bring an event for film fans to Dublin that had an air of genuine excitement around it’ commented Vincent Donnelly, creator of Movie Fest, ‘we had taken note of how huge Comic Con has become in the US, now attracting thousands of people and the biggest stars, and wanted to try to recreate some of that excitement here. Irish audiences, among the most frequent moviegoers in the world, can sometimes be neglected when it comes to access to an all-inclusive event like this, and we wanted to make sure that while it was modelled on Comic Con, it’s a very unique event’ he continued. ‘There will be plenty of surprises over the weekend, and plenty of prizes and goody bags for members of the audience, so if you’re a movie fan, this is definitely the event for you.’

Movie Fest takes place at Cineworld Cinemas, Parnell Centre, Dublin on August 13th and 14th, the full schedule can be seen on
Day tickets are on sale from Cineworld’s box office or online at (advance booking section).


The Way Back

The Way back

DIR: Peter Weir • WRI: Peter Weir, Keith Clarke, Sławomir Rawicz • PRO: Peter Weir, Joni Levin, Duncan Henderson, Nigel Sinclair, Scott Rudin • DOP: Russell Boyd • ED: Lee Smith • DES: John Stoddart • CAST: Jim Sturgess, Colin Farrell, Ed Harris, Saoirse Ronan, Mark Strong, Dragoş Bucur, Gustaf Skarsgård

An intense and beautiful piece of cinema, The Way Back is loosely based on the true story of soldiers who escaped from a Siberian gulag during World War II. With a whopper of a line-up, the film not only features the likes of Jim Sturgess and Ed Harris, but also our very own Colin Farrell and Saoirse Ronan.

Not quite a feel-good film; The Way Back tells the arduous story of the gang as they make their way walking across the treacherous landscape of two continents in a break for freedom. Dealing with starvation and treachery, bravery and friendship; this film develops well, slowly revealing the intricate personalities of strong characters in a desperate situation. They aren’t the only ones feeling the chill, the stunning aesthetics of the film illustrate the harshness of the various terrains.

This film really takes a refreshing approach focusing on a soldier’s fight for survival, rather than the victorious gung-ho battle against an evil foe. It deals mainly with the internal struggles of complex people who’ve had to make difficult sacrifices to stay alive.

The Way Back does have a distinct voice – but it still manages at times to dip lightly into a hollywood cliché. Nevertheless this film is a shiny beacon of brilliance amongst the rest of the mediocre dramas of 2010. Colin and Saoirse do us proud, both stealing the show with some incredible performances, which are delivered through some quite amusing Eastern European accents. Fingers crossed the two nab us some Oscars®.

Gemma Creagh

Rated 12A (see IFCO website for details)

The Way Back is released 26th Dec 2010


London Boulevard

London Boulevard

DIR/WRI: William Monahan • PRO: Quentin Curtis, Tim Headington, Graham King, William Monahan • DOP: Chris Menges • ED: Dody Dorn, Robb Sullivan • DES: Martin Childs • CAST: Keira Knightley, Jamie Campbell Bower, Colin Farrell, Ray Winstone

Sometimes you look in the fridge and impress yourself with the potential to make a really spectacular dinner. You throw it all in a big pot and eagerly await the result. It simply has to turn out well considering that all of the ingredients are individually a bit great. But then you taste it, and it all goes horribly wrong. Well that’s how London Boulevard left me feeling.

The film’s credentials cannot help but impress. It’s written by Oscar winner William Monahan who has previously thrilled us with Edge of Darkness, Body of Lies and modern masterpiece The Departed. Colin Farrell plays Mitchell, a recently released criminal who has no intentions of going back to prison and wants to lead a straight life despite his associates’ plans to the contrary. The love interest is a Hollywood recluse in the form of Keira Knightley, who hires Mitchell for protection. The local hoodlums are led by Ray Winstone, who eats up any scenery unfortunate enough to cross his path and regurgitates biographical nonsense in a kind of crude and distracting echo of The Dark Knight’s Joker.

The strength of London Boulevard’s players makes the end result baffling. Blame must be heaped on Monahan as he stepped up to direct his script for the first time; although I can’t help but also feel a little sympathy for his misfortunate decision. When you consider that his last three scripts have been successfully adapted by Ridley Scott, Martin Campbell (excellent director of Casino Royale) and Martin Scorsese, it’s no wonder that Monahan thought the process looked easier than it was.

The film is simply riddled with poor decisions. Scenes are left in that are unnecessary, while other background details are omitted. Dialogue is consistently forced and unintentionally amusing. The rock soundtrack is clearly inspired by Scorsese but rarely fits the action on screen. What is most frustrating of all is that the material had the potential to be a solid gangster film. If only Monahan had found London Boulevard instead of this anonymous, forgettable dead end. Next time, ask for directions.

Peter White

Rated 16 (see IFCO website for details)

London Boulevard is released on 26th November 2010


DVD: Ondine


DIR/WRI: Neil Jordan • PRO: Ben Browning, James Flynn, Neil Jordan • DOP: Christopher Doyle • ED: Tony Lawson • DES: Anna Rackard • CAST: Colin Farrell, Alicja Bachleda, Stephen Rea, Dervla Kirwan, Alison Barry, Tony Curran

A beautiful, possibly preternatural young woman offers a world-weary trawler-man a new lease of life in Neil Jordan’s whimsical new feature. Working from an original screenplay – his first in well over a decade – Ondine sees the director return to themes of fantasy, myth and the power of storytelling that made early works such as The Company of Wolves and The Miracle so memorable.

The premise is a model of simplicity: has Syracuse (Colin Farrell), a West Cork fisherman on his uppers, uncovered a mermaid (Alicja Bachleda), in his fishing nets or merely a girl named Ondine who is too scared to tell the truth? Whatever the explanation, her ethereal singing seems to produce bountiful hauls of fish, enough to make Syracuse wonder if his luck is about to change.

And not a moment too soon. A recovering alcoholic, Syracuse has long been dismissed by the townsfolk as a hopeless case. The divorced father of Annie (Alison Barry), a very sick little girl who lives with her drunken mother (Dervla Kirwan) and feckless Scottish partner, his sole confidant and surrogate AA sponsor is the parish priest, played by Jordan regular Stephen Rae with his customary wit and subtlety.

Upon learning of her oceanic provenance, Annie begins to fashion a myth around Ondine, likening her to a Selkie, a sea creature in Celtic folklore capable of bestowing luck on beleaguered mortals. Who is Syracuse to disabuse her of this fanciful notion?

The film is at its strongest when Jordan foregrounds the mystical elements of his slight, yet endearing tale; the real-world tensions over Ondine’s true identity are less interesting; the contrived climax, engineered to place order upon an ambiguous narrative, is disappointingly rational.

There’s no escaping the feeling that Ondine is a minor work from Jordan, but it’s a pleasurable, mellow experience, strikingly shot by the justly feted Christopher Doyle with a nicely judged central performance from Farrell (whose Whest Kark accent is at times occasional). Best to leave one’s cynicism at the door.

David O Mahony

Ondine is available on DVD from 16th August

Extra DVD Features include: ‘Making of Ondine: Behind the Scenes’ featurette

  • Format: Anamorphic, Colour, PAL, Widescreen
  • Language English
  • Region: Region 2
  • Aspect Ratio: 16:9 – 1.78:1
  • Number of discs: 1
  • Classification: 12
  • Studio: Paramount Home Entertainment
  • Run Time: 100 minutes

Click here for Film Ireland’s interview with Neil Jordan, Colin Farrell & Alicja Bachleda


Film Ireland Interviews with Neil Jordan, Colin Farrell & Alicja Bachleda

Ondine goes on general release on Friday March 5th 2010 and is the story of an Irish fisherman (Farrell) who discovers a woman (Bachleda) in his fishing net, who he believes to be a mermaid.

Jordan talks about the genesis of the story and his collaborations with cinematographer Christopher Doyle (see Film Ireland 126 Jan/Feb 2009 for an interview with Doyle) and musician Kjartan Sveinsson of Sigur Rós on the score, while Farrell explores the background of his character, Syracuse. Bachleda reflects on her experiences of shooting the film on her first visit to Ireland.


The interview with Neil Jordan & Colin Farrell is approximately 10 minutes in length. To view, please click here:


The interview with Alicja Bachleda is approximately 7 minutes in length. To view, please click here:


Crazy Heart

Crazy Heart
DIR/WRI: Scott Cooper • PRO: T-Bone Burnett, Robert Duvall, Scott Cooper, Judy Cairo, Rob Carliner • DOP: Barry Markowitz • ED: John Axelrad • DES: Waldemar Kalinowski • CAST: Jeff Bridges, Maggie Gyllenhaal, Colin Farrell, Robert Duvall

Every year, around Oscar® time we get hit with a film like Crazy Heart. An ageing drunk gets chance after chance to redeem his or her-self but time after time they fail until they get a wake-up call and get back on track, or do they…? Last year it was The Wrestler, this year it’s Crazy Heart. Despite the fact that I’ve seen this movie at least twenty times before, this was a pleasant experience overall. A nicely paced, superbly acted, cautionary tale, this is certainly worth checking out and with two acting nominations and a nod for Best Song you should probably try to get to it before Oscar® time.

The protagonist, haggard country singer Bad Blake (Bridges), is reaching the end of the line. He has been consumed by his alcoholism and is slowly coming to rock bottom. On the road, playing gigs in bowling alleys and dodgy bars in New Mexico, Bad disgraces himself night after night. At one of these gigs he meets beautiful young journalist Jean (Gyllenhaal) and they form a friendship, which soon turns into a love affair. Despite their chemistry, the road to love is rocky due to Jean’s four-year-old son and Bad’s 50-year-old addiction.

Much has been made of Jeff Bridges’ performance in this film and I believe deservedly so. This character is never anything but loveable, despite his flaws. He is a good person and his ‘rock bottom’ moments are difficult to endure. His singing is beautifully craggy and he sounds like a man who has been singing all his life. He is a shoo-in for the Oscar® this year and not only because he is long overdue the recognition, but because this is easily the best leading man performance of the year (though, that didn’t help Mickey Rourke last year). A pleasant surprise is Colin Farrell’s extended cameo as Tommy Sweet, Bad’s one time protégé who has overtaken him and left him to the dust. He is a huge country star and for the first half of the film, he is set up as the villain of the piece. However, when we finally meet him, he is a genuine man who has been swept up in the corporate nonsense of country music, but still has nothing but love and respect for his mentor. Farrell sells this character really well, giving one of his best performances to date, and provides his own vocals to impressive effect. Man of many talents!

This is an enjoyable film. It is well paced, nicely shot and boasts superb performances all round. If you like backwoods, smoky country music then you’ll enjoy T-Bone Burnett’s songs, which are plentiful throughout. Nothing we haven’t seen before but Crazy Heart is a highly enjoyable night at the cinema.

Charlene Lydon

(See biog here)

Rated 15A (see IFCO website for details)

Crazy Heart is released 19th Feb 2010

Crazy Heart – Official Website


Pride and Glory

Pride and Glory
Pride and Glory

DIR: Gavin O’Connor WRI: Gavin O’Connor & Joe Carnahan PRO: Greg O’Connor
DOP: Declan Quinn ED: Lisa Zeno Churgin & John Gilroy DES: Dan Leigh CAST: Colin Farrell, Edward Norton, Jon Voight, Noah Emmerich, Jennifer Ehle.

A movie about cops: bad cops, good cops, and morally ambiguous cops. Shot in a gritty, handheld HBO style, the film focuses on an Irish American family of cops and the scandal that engulfs them all. We get dad cop (John Voight), brother cops (Edward Norton and Noah Emmerich) and brother-in-law cop (Collin Farrell). This cozy cop family is torn apart when a shoot-out at a drug-dealer’s leaves four of their comrades dead. Returning from cop limbo to investigate, Ray Tierney (Norton) discovers police corruption involving his brother-in-law Jimmy Egan (Collin Farrell). Ray’s incessant thread pulling starts to unravel the lives of his family and of his NYPD comrades.

Pride and Glory has a strong cast, with a great performance from Farrell in particular. Norton, however, is miscast; he always seems too smart and aloof to be a cop, especially compared to his dad and brother. At times he seems more like a sneering college lecturer than anything else. Voight is good, but it feels at times that he is phoning his performance in. The movie is fairly violent in places and moves at a steady pace and O’Connor does a good job of keeping it all together and keeping us interested. However, it falls apart in the last half hour or so, veering off with a contrived ending that tries to tie everything up in a nice neat package where the bad guys get what’s coming to them and the good guys retain their slightly tarnished halos. Failing to sustain its grit all the way to the end, it’s good but not great.


Cassandra's Dream

Cassandra's Dream
Cassandra's Dream

DIR/WRI: Woody Allen • PRO: Letty Aronson, Stephen Tenenbaum, Gareth Wiley • DOP: Vilmos Zsigmond • ED: Alisa Lepselter • DES: Maria Djurkovic • CAST: Ewan McGregor, Colin Farrell, Tom Wilkinson, Sally Hawkins, Hayley Atwell

In Woody Allen’s most recent film, Cassandra’s Dream, Ewan McGregor and Colin Farrell play two working-class London brothers. McGregor is Ian, the smart one, who works in their father’s restaurant while dreaming of a better life, and Farrell is Terry, a former potential sports star, who now works in a garage and is addicted to gambling. When Ian’s relationship with an actress (played by Hayley Atwell) brings his ambitions up a notch, and Terry’s gambling leaves him in serious debt, they go to their well-to-do Uncle Howard (played by Tom Wilkinson) to, effectively, beg for money. Uncle Howard is perfectly willing to help, on the condition that they kill a man whose testimony could put him in prison.

It’s very unlike a typical Woody Allen film, so I don’t know if it can be judged fairly in those terms. If you’re a fan you might be left longing for, say, some more overlapping dialogue, or a joke about sex or psychoanalysis or, ideally, both, though in this film these things might be distracting. (In fact, there is one scene involving an actress nervously lighting a cigarette while talking about how neurotic and self-absorbed she is, and it feels a little out of place.) If you’re a fan, you may worry for Woody’s wellbeing, given his fascination with killing people, but it’s not an entirely new preoccupation, and there’s been a certain amount of despair in many of his films – it’s just usually accompanied by comedy.

Leaving Woody aside, it’s a pretty decent thriller, with plenty of tension. The film is well made, with some good scenes, as in the one where their uncle makes his request, or another in their proposed victim’s house. There’s a lot of exposition early on, so it’s a bit slow to get going, and there are some moments that are surprisingly clunky and awkward. It’s also a bit bleak, and has been compared to Match Point for its murderous dilemma. It’s livelier than Match Point though, with less of an overt thematic point, which could be seen as a good or a bad thing. It’s more of a crime-tragedy by way of James M. Cain than a philosophical tract.

The acting is good, with McGregor conflicted but holding it together and Farrell anxious and increasingly unhinged. The accents aren’t too bad, although McGregor sometimes sounds a bit like Frank Spencer. Tom Wilkinson is as good as always, and Sally Hawkins, as Farrell’s girlfriend, gives probably the most natural performance in the film.

It’s good to see a filmmaker trying something different(-ish) into his seventies, and if this wasn’t a Woody Allen film, it might have been better received. Although I’m pretty sure people would still have a problem with the dialogue.