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: 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







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: 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